I—1WH.  ■!!!■■■  MM  HI  II 


iiiwinim i iw 


norm* 


"    I  ""'I ■ 


MMmnawiWMi! 


rniiriiiiiiiiiirijpiiii!l(„H 


WOWHIMCLI  MHIH'iW^W 


wmmm tmm — mn  wimw  jnar i  ■  ii  ti  r  t 


BERKELEY 

LIBRARY 

UNIVERSITY  OF 
CAUFORNIA 


SCIENCE   OF   ELOCUTION. 

BY  S.  S.  HAMILL. 


TESTIMONIALS. 

From  Andrew  D.  White,  LL.D.,  President  of  Cornell  University,  lak 
Professor  of  History  and  English  Literature,  Michigan  University. 

University  op  Michigan,  Ann  Arbor. 

Mr.  S.  S.  Hamill  has  taught  large  Elocution  classes  in  this  institu- 
tion, and  has  given  perfect  satisfaction. 

His  exercises  for  developing  the  voice,  and  inculcating  its  right 
tone,  cannot,  I  think,  be  surpassed.  A.  D.  White. 

From  Rev.  H.  P.  Tappan,  D.D.,  LL.D.,  Chancellor  of  Michigan  Uni- 
versity. 
It  affords  me  much  pleasure  to  commend  Mr.  S.  S.  Hamill  to  Col* 
leges  and  Schools  as  a  teacher  of  Elocution.  Mr.  Hamill  is  himself 
an  excellent  elocutionist,  but  this  would  be  of  small  account  if  he 
merely  taught  his  pupils  to  imitate  his  own  manner  and  tones.  His 
worth  as  an  instructor  in  this  very  important,  but  too  much  neg- 
lected, branch  consists  in  the  inculcation  of  correct  principles  of  Elo- 
cution, and  in  subjecting  his  pupils  to  a  proper  drill  of  the  voice. 
His  aim  is  to  correct  bad  habits  of  pronunciation  and  intonation,  and 
to  bring  out  the  natural  power  and  compass  of  the  human  voice.  He 
is,  besides,  very  faithful  and  diligent,  and  spares  no  pains  to  accom- 
plish his  object.  Mr.  Hamill  succeeds  also  in  winning  the  esteem 
and  respect  of  his  pupils  by  his  gentlemanly  bearing.  He  has 
formed  voluntary  classes  in  this  institution  for  two  successive  sea- 
sons, and  has  given  great  satisfaction.  Henry  P.  Tappan. 


From  Rev.  D.  A.  Wallace,  D.D.,  LL.D.,  late  President  of  Monmouth 
College. 
Prof.  Hamill  :  I  have  examined  your  book,  and  am  prepared  to 
say  deliberately,  that  I  like  it  exceedingly.  I  expected  much :  my 
expectations  are  more  than  realized.  I  see  that  you  are  to  lead  the 
profession  in  the  United  States. 


2  Testimonials. 

From  William    Russell,  Professor  of  Elocution,  Lancaster,  Mass., 
Author  of  Vocal  Culture,  Pulpit  Elocution,  etc.,  etc. 

Professor  Hamill — Dear  Sir  :  Tour  favor  of  the  ninth  gave  me 
the  rare  pleasure  of  perceiving  that  Dr.  Rush's  Philosophy  of  the 
Voice,  as  exemplified  in  my  manual  of  Orthophony  (or  Vocal  Culture), 
has  led  an  intelligent  and  accomplished  teacher  of  Elocution  to  prose- 
cute  for  himself  the  analysis  of  vocal  expression  into  its  interesting 
and  instructive  details.  The  closeness  of  your  investigations  must 
have  been  a  source  of  great  pleasure,  as  well  as  conscious  intellectual 
discipline,  to  yourself,  and  I  have  no  doubt  that  it  will  greatly  en- 
hance the  benefit  of  your  instructions  to  others. . .  .Let  me  assure 
you  that  the  ingenuity  and  thoroughness  of  your  scheme  gives  me 
peculiar  pleasure,  from  the  attempt  to  give  philosophical  complete- 
ness to  a  tabular  view  of  the  phenomena  of  vocal  expression. 

William  Russell. 

From  Rev.  0.  N.  Hartshorn,  LL.D.,  President  of  Mount   Union 
College. 

Feeling  a  deep  interest  in  the  important  subject  of  Elocution,  and 
being  personally  acquainted  with  Professor  S.  S.  Hamill,  a  scholar 
and  gentleman  of  high  standing,  I  take  the  liberty  to  introduce  him 
to  the  favorable  consideration  of  all  persons  interested  in  this  too 
much  neglected  branch  of  education.  Mr.  Hamill  is  the  most  accom- 
plished, thorough,  and  systematic  teacher  of  Elocution  that  I  have 
ever  met.  He  has  taught  some  five  classes,  composed  of  students 
and  professors  of  Mount  Union  College,  with  satisfactory  results.  1 
attended  three  of  these  classes  with  great  profit  and  pleasure  to  my- 
self. While  Mr.  Hamill  has  been  here  he  has  arranged  a  simple  dia- 
gram, which,  in  my  judgment,  gives  in  one  view  to  the  eye  an  accu- 
rate and  comprehensive  outline  of  each  style  of  utterance.  I  have 
examined  it  carefully,  and  think  it  highly  adapted  in  its  plan  and  exe- 
cution to  illustrate,  when  explained  by  him,  that  most  difficult  and 
important,  but  too  much  neglected,  department  of  education,  the  va. 
jious  qualities,  forms,  stress,  pitch,  and  movement  of  voice,  to  be  ex 
emplified  in  the  utterance  of  each  style  of  sentiment. 

0.  N.  Hartshorn. 

From  Alexander  Campbell,  President  of  Bethany  College,  Va. 
Having   recently   had  the  pleasure  of  hearing  the  distinguished 
Elocutionist,  Mr.  S.  S.  Hamill,  deliver  himself  on  the  science  and  the 
art  of  Elocution,  in  doing  which  he  so  scientifically  and  also  artistic- 
ally exhibited  the  orator  in  utterance  and  in  action,  I  cannot  but  V9°- 


Testimonials.  3 

ommeud  him  to  all  those  youth  who  desire  to  acquire  either  the  theory 
or  the  practice  of  this  most  interesting  and  useful  science  and  art. 

A.  Campbell. 

From  W.  K.  Pendleton,  President  of  Bethany  College. 

To  all  who  are  interested  in  the  attractive  art  of  Elocution  we  take 
pleasure  in  tendering  a  very  cordial  introduction  of  Mr.  Hamill.  He 
has  made  Elocution  his  special  profession,  and  besides  his  own  very 
high  tJtainments  in  its  practice,  is  eminently  gifted  as  a  teacher  of  it 
to  others.  He  has  given  instruction  to  a  number  of  voluntary  classes 
in  Bethany  College,  and  with  the  most  marked  success.  His  gentle- 
manly bearing,  his  accomplished  mastery  over  his  subject,  his  great 
fidelity  and  energy  as  a  teacher,  and,  withal,  his  genuine  enthusiasm 
in  the  noble  art  of  Elocution,  make  Mr.  Hamill  a  welcome  instructor 
to  all  who  take  his  lessons. 

His  method  is  strictly  scientific,  and  as  a  teacher  he  labors  to  point 
out  and  exemplify  the  principles  and  exercises  by  which  excellence 
in  oratorical  utterance  not  only  may,  but  must,  be  reached.  We  trust 
that  Mr.  Hamill  will  be  encouraged  and  sustained  in  his  generous 
efforts  to  elevate  the  tone  of  our  Elocution,  and  that  in  his  hands  this 
much-neglected  and  sometimes-despised  element  of  a  polished  edu- 
cation may  be  invested  with  new  interest,  and  raised  to  a  noble 
place  in  the  courses  of  our  colleges.  W.  K.  Pendleton. 


From  J.  Baldwin,  A.M.,  President  State  Normal  ScJiool,  Huntsville, 

Texas. 
Professor  Hamill  is  the  best  teacher  of  Elocution  in  the  United 
States. 

From  The  Christian  Union  {Henry  Ward  Beecher's  paper). 

Prof.  Hamill  has  given  us  the  most  valuable  matter,  with  a  better 
classification  than  we  have  seen. 

From  The  Methodist  Quarterly  Review. 
"  The  Science  of  Elocution,"  by  Prof.  Hamill,  is  without  a  superior 
to  our  scholars,  to  our  ministry,  and  to  our  academic,  collegiate,  and 
theological  classes. 

From  The  Christian  Advocate. 
"  The  Science  of  Elocution,"  by  Prof.  Hamill,  is  the  most  scien- 
tific in  its  methods  and  complete  in  its  instructions  of  any  on  the 
subject  that  we  remember  to  have  seen. 


4  Testimonials. 

From  S.  H.  Carpenter,  M.D.,  Professor  of  Rhetoric  and  English  Liter' 
ature,  University  of  Wisconsin. 

University  of  "Wisconsin,  Madison. 
Prof.  S.  S.  Hamill — Dear  Sir:  I  have  examined  your  "Science  of 
Elocution"  with  great  pleasure,  and  unhesitatingly  pronounce  it  the 
best  thing  of  the  kind  with  which  I  am  acquainted.     I  shall  rec- 
ommend it  to  my  classes.  Respectfully  yours, 

S.  H.  Carpenter. 

From  S.  P.  Lucy,  Professor  of  Elocution  and  English  Literature,  Oska- 
loosa  College. 

Oskaloosa,  Iowa. 
Prof.  S.  S.  Hamill — Dear  Sir :  Permit  me  to  congratulate  you  on 
the  production  of  a  book  on  Elocution  that  is  at  once  practical  and 
scientific.     It  fully  meets  the  demands  of  the  class-room. 

From  J.  B.  Peaslee,  Ph.D.,  Supt.  Public  Schools,  Cincinnati,  Ohio. 
Prof.  Hamill  is  one  of  the  few  who  has  reduced  Elocution  to  a 
science.     His  teaching  is  thorough  and  systematic. 

From  S.  Estabrook,  late  Principal  Michigan  State  Normal  School 
Prof.  Hamill  is  the  most  thorough,  systematic,  and  accomplished 
teacher  of  Elocution  I  have  ever  met.     His  method  is  thoroughly 
scientific,  his  manner  is  easy,  natural,  and  inspiring. 

From  Datus  C.  Brooks,  Prof,  of  English,  Michigan  University. 
We  have  had  other  teachers  of  Elocution  in  this  university,  but 
none  so  successful  in  his  instructions.  Regretting  that  we  cannot 
retain  Mr.  Hamill  permanently  here,  he  has  my  most  cordial  com- 
mendation and  warmest  wishes  for  his  success  in  the  chosen  profes- 
sion of  his  life.  Datus  C.  Brooks. 


NEW  SCIENCE  OF  ELOCUTION. 


THE 

ELEMENTS  AND  PRINCIPLES  OF  VOCAL  EXPRESSION 

IN  LESSONS, 

WITH 

EXERCISES  AND  SELECTIONS 

SYSTEMATICALLY  ARRANGED 

FOR   ACQUIRING 

THE  ART  OF  READING  AND  SPEAKING. 

BY  S.  S.  HAMILL,  A.M., 

CHICAGO,    ILL., 

LATE   PROFESSOR  OF   RHETORIC,   ENGLISH    LITERATURE,   AND    ELOCUTION, 

ILLINOIS  WESLEYAN    UNIVERSITY,   BLOOMINGTON,   ILL., 

STATE   UNIVERSITY,   COLUMBIA,   MO. 


NEW  YORK:    EATON   &    MAINS 
CINCINNATI :  JENNINGS  &  PYE 


IOAN  3TACK 


Copyright,  1886,  by 

PHILLIPS    &    HUNT, 

Nbw  York. 


H?5 


PRE  FACE 


In  the  belief  that  Elocution  should  be  studied  as  a 
science  as  well  as  practiced  as  an  art,  the  following 
pages  are  presented  to  the  public. 

That  Elocution  is  a  science,  that  there  are  certain 
established  principles  observed  by  all  good  speakers 
and  violated  by  all  bad  ones,  none  will  deny  who  have 
carefully  investigated  the  subject.  To  understand  and 
to  practically  illustrate  these  principles  should  be  the 
prominent  object  of  the  student  of  Elocution. 

The  design  of  the  work  is  to  unfold  the  principles  of 
Elocution,  to  show  their  application  to  the  different 
forms  of  thought  and  emotion,  to  classify  selections 
under  their  appropriate  styles,  and,  in  connection  there- 
with, to  furnish  sufficient  exercises  for  the  cultivation 
of  the  articulation,  the  tones  of  the  voice,  and  the 
graces  of  manner. 

Without  this  all  cultivation  of  the  voice  and  manner 
will  be  of  little  avail.  Instances  are  numerous  of  stu- 
dents who  have  carefully  and  diligently  practiced  the 
exercises  for  the  cultivation  of  the  voice  and  manner, 
so  abundant  in  the  various  works  on  Elocution,  and 
derived  therefrom  all  the  advantages  they  propose,  and 
yet  good  readers  and  speakers  are  rare. 

889 


8  Preface. 

A  radical  defect  exists  somewhere,  or,  contrary  to  all 
experience  and  testimony,  the  ability  to  read  and  speak 
well  is  not  an  acquirement.  An  experience  of  nearly 
twenty  years  as  a  teacher  in  this  department  has  con- 
vinced the  author  that  the  study  of  Elocution  usually 
ceases  where  it  really  should  begin,  namely,  with  the 
adaptation  of  the  tones  of  the  voice  and  the  expression 
of  countenance  to  the  sentiment  uttered. 

To  correct  in  some  degree  this  defect,  and  to  awaken 
a  deeper  interest  in  the  subject  of  Elocution,  is  the 
hope  of  the  author  in  the  present  publication. 

When  Elocution  shall  be  studied  in  our  colleges  and 
universities  as  a  science,  its  principles  known  and  prac- 
ticed, then,  and  not  till  then,  will  good  speaking  be  the 
rule,  and  not,  as  now,  the  rare  exception. 

S.  S.  H. 

Chicago,  III. 


PREFACE  TO  THE  REVISED  EDITION. 


In  revising  the  Science  of  Elocution  the  author  de- 
sires to  express  his  sincere  thanks  to  the  literary  and 
professional  men  and  women,  and  to  the  schools  and 
colleges  throughout  the  country  for  their  generous  and 
complimentary  indorsement  and  adoption  of  the  work, 
and  to  hope  that  the  revised  edition  may  be  no  less 
acceptable. 

The  original  design  of  the  work,  which  was  to  pre- 
sent the  elements  and  principles  of  vocal  expression  in 
a  plain,  simple,  scientific  manner,  is  still  retained. 

The  changes  are  chiefly  in  the  arrangement  of  the 
exercises,  the  addition  of  questions  and  diagrams,  and 
the  substitution  of  new  and  better  selections.  The  pres- 
ent plan  is  to  present  the  explanations,  exercises,  ele- 
ments, principles,  and  the  selections  for  their  illustra- 
tion in  systematic  lessons,  and  thus  better  adapt  the 
work  to  the  wants  of  the  class-room.  Instead  of  pre- 
senting with  each  element  brief  examples  to  illustrate 
all  the  styles  of  thought  and  feeling  in  which  the  ele- 
ment may  be  employed,  only  one  illustration  will  be 
given,  the  others  being  presented  when  new  elements 
are  introduced.     By  this  arrangement  frequent  repeti- 


10  Peeface  to  the  Eevised  Edition. 

tions  will  be  avoided,  and  yet  all  the  styles  of  thought 
and  feeling  illustrated. 

No  attempt  has  been  made  to  give  instruction  in 
action,  further  than  the  exercises  in  position  and 
movement.  Indeed,  it  is  questionable  whether  grace 
and  propriety  of  gesture  and  attitude  can  be  success- 
fully taught  by  printed  instructions  either  in  words 
or  wood-cuts  and  dotted  lines.  Certain  it  is  that  the 
accomplishments  of  action  can  be  best  acquired  from 
the  living  teacher  and  the  careful  study  of  works  of 
art  and  natural  illustrations. 

The  suggestions  in  the  lessons  on  gesture  and  atti- 
tude are  on  the  supposition  that  the  teacher  is  compe- 
tent to  give  such  instruction  orally  and  by  illustration. 

Chicago,  III. 


CONTENTS 


PAGE 

Preface 7 

Preface  to  Revised  Edition 9 

Introduction 19 

Questions 23 

Diagram  of  the  Essential  Elements  of  Vocal  Expression.  . .  24 

Diagram  of  the  Accidents  of  Vocal  Expression 25 

Elementary  Sounds 26 

Exercises  in   Position,   Respiration,    Articulation,    Breathing,    and 
Gesture  will  be  found  in  connection  with  each  lesson. 

LESSON  I Position,  Respiration,  Articulation 28-31 

Forms  of  Voice 32 

Effusive  Form 33 

LESSON  II Expulsive  Form 39 

LESSON  III Explosive  Form 44 

LESSON  IV Qualities  of  Voice 49 

Pure  Tone 51 

Pure  Tone,  Effusive  Form 53 

LESSON  V Pure  Tone,  Expulsive  Form 57 

LESSON  VI Pure  Tone,  Explosive  Form 61 

LESSON  VII...  Orotund 63 

Orotund,  Effusive  Form 65 

LESSON  VIII. . .  Orotund,  Expulsive  Form 69 

LESSON  IX Orotund,  Explosive 74 

LESSON  X Oral 77 

Oral,  Effusive  Form 78 


12  Contents. 

PAfiE 

LESSON  XI Oral,  Expulsive 82 

LESSON  XII Aspirate 85 

Aspirate,  Effusive 86 

LESSON  XIII Aspirate,  Expulsive 89 

LESSON  XIV Aspirate,  Explosive 91 

LESSON  XV Pectoral 96 

Pectoral,  Effusive 97 

LESSON  XVI Pectoral,  Expulsive 101 

LESSON  XVII Pectoral,  Explosive 104,  105 

LESSON  XVIII....  Guttural 108 

Guttural,  Effusive 109 

LESSON  XIX Guttural,  Expulsive Ill 

LESSON  XX Guttural,  Explosive 115 

LESSON  XXI Falsetto 118 

Falsetto,  Effusive  Form 118 

LESSON  XXII Falsetto,  Expulsive 120 

LESSON  XXIII. . . .  Falsetto,  Explosive 124 

LESSON  XXIV....  Nasal 127 

Nasal,  Expulsive 128 

LESSON  XXV Force  of  Voice 135,  136 

Subdued  Force 137 

LESSON  XXVI. . . .  Moderate  Force 142 

LESSON  XXVII. . .  Energetic  Force 148,  149 

LESSON  XXVIII. .  Impassioned  Force 155 

LESSON  XXIX.. . .  Stress  of  Voice 162 

Median  Stress 163 

IESSON  XXX Radical  Stress <  266 

LESSON  XXXI....  Final  Stress 174,  175 

LESSON  XXXII. . .  Compound  Stress 179 

LESSON  XXXIII . .  Thorough  Stress 185 

LESSON  XXXIV . .  Intermittent  Stress 190 

LESSON  XXXV . . .  Pitch  of  Voice 195 


Contents  13 

PAGE 

LESSON  XXXV. . .  Middle  Pitch 198 

LESSON  XXXVI. .  Low  Pitch 201 

LESSON  XXXVII. .  High  Pitch 205 

LESSON  XXXVIII.  Very  Low  Pitch 208 

LESSON  XXXIX  . .  Very  High  Pitch 212 

LESSON  XL Movement  of  Voice 215 

Moderate  Movement 216 

LESSON  XLI Slow  Movement 220 

LESSON  XLII Rapid  Movement 224 

LESSON  XLIII Very  Slow  Movement 227 

LESSON  XLIV Very  Rapid  Movement 229-233 

Conclusions  from  the  Previous  Lessons.  236 

LESSON  XLV Grouping 238 

LESSON  XL VI Accidents  of  Vocal  Expression 248 

Quantity 248 

Long  Quantity 249 

LESSON  XLVII . . .  Short  Quantity 250 

LESSON  XLVIII . .  Inflections 254 

Rising  Inflection 254 

LESSON  XLIX Falling  Inflection 258 

LESSON  L Circumflex 264 

LESSON  LI Cadence 267 

LESSON  LH Emphasis 270 

Emphasis  of  Force 270 

Emphasis  of  Stress 271 

Emphasis  of  Quality 271 

Emphasis  of  Pitch 272 

Emphasis  of  Movement 272 

LESSON  LIII Pauses 278 

LESSON  LIV Climax 281 

LESSON  LV Action 282 

Positions  of  Hands 283 


14  Contents. 

PASS 

LESSON  LV. . .  Position  and  Movement  of  Arms 285 

Qualities  of  Gesture 286 

Accompaniments  of  Gesture 28V 

Significance  of  Gesture 281 

The  Eye 289 

LESSON  LVI. .  EMOTIONS  AND  PASSIONS 290 

Tranquillity 291 

Cheerfulness 291 

Mirth 292 

Joy 293 

Pity 294 

Hope 294 

Hatred,  Aversion 295 

Anger,  Rage,  Fury 296 

Revenge 297 

Reproach 298 

Fear  and  Terror 209 

Sorrow 300 

Sneer 301 

Surprise,   Wonder,   Amazement,   Astonish- 
ment   302 

Vexation 303 

Shame :  303 

Gravity 304 

Commanding 304 


Contents.  15 


SELECTION  S. 

PAGB 

Abou  Ben-Adhem. — Leigh  Hunt 316 

An  Idyl  of  the  Period. —  G.  A.  Baker 256 

An  Order  for  a  Picture. — Alice  Gary 218 

Appeal  in  Behalf  of  Ireland. — S.  S.  Prentiss 145 

Apostrophe  to  the  Ocean.  —Lord  Byron 249 

Bald-Headed  Man,  The 879 

Baron's  Last  Banquet,  The — A.  G.  Greene 112 

Bells,  The.—  Edgar  A.  Poe 328 

Bells,  The.     (First  stanza.) — Edgar  A.  Poe 61 

Bells,  The.     (Third  stanza.)— Edgar  A.  Poe 75 

Bernardo  Del  Carpio. — Mrs.  Remans 335 

Blacksmith's  Story,  The. — Frank  Olive 354 

Bobolink,  The. — Aldine 349 

Break  !    Break  !     Break  ! — Tennyson 165 

Bugle  Song. — Alfred  Tennyson 119 

Burial  of  Arnold,  The. — N.  P.  Willis 139 

Catiline's  Defiance. — Croly 106 

Cato's  Soliloquy. — Joseph  Addison 231 

Charcoal  Man,  The. — J.  T.  Trowbridge 121 

Charge  of  the  Light  Brigade,  The. — Tennyson 314 

Charlie  Machree. —  William  J.  Hoppin 331 

Cheerfulness 198 

Clarence's  Dream. — Shakespeare 102 

Closing  Year,  The. — Prentice 150 

Count  Candespina's  Standard. — George  H.  Boker 332 

Creeds  of  the  Bells. — George  W.  Bungay 323 

Curfew  must  not  Ring  To-Night — Rosa  A.  Hartwick 317 


16  Contents. 

PAGB 

Darius  Green  and  his  Flying-Machine— J.  T.  Trowbridge 128 

Darkness. — Byron 98 

Dead  Doll,  The. — Margaret  Vandegrift 380 

Death-Bed,  The. — Thomas  Hood 138 

Death  op  Alexander  Hamilton. — Dr.  Nott 311 

Death  of  Little  Jim,  The 79 

Duty  op  Literary  Men  to  their  Country. — Grimke 306 

Evening  at  the  Farm. — /.  T.  Trowbridge 343 

God. — Derzhavin 65 

God  the  True  Source  op  Consolation.— Thomas  Moore 147 

God's  First  Temples. —  W.  C.  Bryant 223 

Gone  Before.— B.  F.  Taylor 316 

Green  Mountain  Justice,  The 124 

Hamlet.    Act  III.    Scene  IV .—Shakespeare 181 

Hamlet's  Advice  to  the  Players. — Shakespeare 58 

Hamlet's  Soliloquy. — Shakespeare 280 

Hate  op  the  Bowl 177 

How  the  Old  Horse  Won  the  Bet. — Oliver  Wendell  Holmes. .  371 

I'm  With  You  Once  Again. — G.  P.  Morris 206 

Industry  and  Eloquence. —  Wirt 41 

In  Memoriam — A.  Lincoln.— Mrs.  Emily  J.  Bugbee 202 

Isle  op  Long  Ago,  The. — B.  F.  Taylor 35 

John  Burns  op  Gettysburg. — F.  Bret  Harte 320 

Lady  Clare. — Alfred  Tennyson ...  261 

Lasca. — F.  Desprez ° . .  363 

Launching  of  the  Ship,  The. — H.  W.  Longfellow 187 

Life-Boat,  The. — Anon 214 

Macbeth.    (Extract  from  dagger  scene.) — Shakespeare 109 

Macbeth.     Scene  II.    Act  II. — Shakespeare 93 

Marco  Bozzaris. — Fitz  Greene  Halleck 209 


Contents.  17 

PAGE 

Marmion  and  Douglas. — Sir  Walter  Scott 251 

Maud  Mdller. — J.  G.  Whiitier . , 244 

Mazeppa. — Byron 234 

Merchant  op  Venice.     (Brief  extract.) — Shakespeare 110 

Merchant  of  Venice.     Scene  I.     Act  III. — Shakespeare 359 

Mercutio's  Description  of  Queen  Mab. — Shakespeare 2*79 

Military  Command. — Anon 90 

Modulation. — Lloyd. 144 

Mr.  Pickwick's  Proposal  to  Mrs.  Bardell. — Dickens 347 

Napoleon  Bonaparte. — Phillips 307 

Nearer  Home. — Phebe  Gary 54 

Night.—  Shelley 291 

No  Sects  in  Heaven. — Mrs.  E.  H.  J.  Cleaveland 366 

On  the  Shores  of  Tennessee. — Ethel  L.  Beers 192 

Our  Folks. — Ethel  Lynn 361 

Over  the  River. — Miss  Priest 268 

Painter  of  Seville,  The. — Szcsan  Wilson 2*73 

Parting  Words. — Mrs.  Hemans 87 

Pictures  of  Memory. — Alice  Cary 351 

Pitt's  Reply  to  Walpole 265 

Polish  Boy,  The. — Mrs.  Ann  S.  Stephens 157 

Poor  Little  Joe. — Peleg  Arkwright 369 

Pyramus  and  Thisbe. — John  G.  Saxe 344 

Raven,  The.— Edgar  A.  Poe 338 

Responsibilities  of  our  Republic. — Joseph  Story 153 

Ride  of  Jennie  McNeal,  The—  Will  Carleton 169 

Rienzi's  Address  to  the  Romans.— Mm  Mitford. 310 

Rising  of  1776,  The.— T.  Buchanan  Read 70 

Robert  of  Lincoln.—  W.  C.  Bryant 376 

2 


18  Contents. 

Sandalphon. — H.  W.  Longfellow 362 

Seminole's  Defiance,  The. — G.  W.  Patten 116 

Sheridan's  Ride. — T.  Buchanan  Read 312 

Spring. — Bryant 153 

Tell's  Address  to  the  Alps. — J.  IS.  Knowles ,  156 

Toussaint  L'Ouverture. —  Wendell  Phillips 357 

Two  Boot-Blacks,  The 235 

Vagabonds,  The. — Trowbridge 325 

Voice  op  Spring. — Mrs.  Hemans 46 

Wounded.—  William  E.  Miller 82 

Young  Lochinvar. — Scott «...  228 


SCIENCE  OF  ELOCUTION. 


INTKODUCTION. 


ELOCUTION. 

Definition. 
^Elocution  is  the  expression  of  thought  and  feeling  by- 
voice  and  action.  Ylt  is  not,  as  many  erroneously  think, 
an  accomplishment1  valuable  only  in  professional  life; 
but  a  divine  gift,  a  natural  endowment,  invaluable  in 
every  position  and  condition  of  life,  and  susceptible  of 
the  highest  cultivation.  Excellence  in  expression  is 
as  desirable  in  the  family  circle  as  in  the  pulpit;  as 
pleasing  and  impressive  in  the  social  circle  as  on  the 
platform;  as  profitable  in  business  life  as  on  the  stage. 
No  organ  of  the  human  body  is  susceptible  of  so  great 
or  so  rapid  cultivation  as  the  voice.  By  proper  train- 
ing for  a  few  weeks  or  months  harsh  and  hard  tones 
may  be  changed  to  sweet  and  silvery  ones. 

Science  and  Art. 

Elocution  is  both  a  science  and  an  art./  As  a  science, 
it  investigates,  classifies,  and  applies  the  elements  and 
principles,  of  expression ;  as  an  art,  it  gives  practical 
illustration  to  these  elements  and  principles. 

As  a  science,  it  teaches  us  to  know;  as  an  art,  to  do. 


20  Science  of  Elocution. 

Province  op  the  Science. 

The  science  of  Elocution  deduces  the  principles  of 
expression  from  natural  sounds  —  animate  and  inani- 
mate. It  observes  in  the  joyous  songs  of  birds  explo- 
sive form,  pure  tone,  high  pitch,  and  rapid  movement. 

It  perceives  in  the  low,  angry  growl  of  the  wild  ani- 
mal the  pectoral  quality  ;  in  the  mutter  of  the  blood- 
thirsty savage  the  guttural  tone  ;  in  the  moaning  of 
the  winds  the  aspirate ;  in  the  roar  of  the  ocean  the 
orotund ;  in  the  tranquil  murmur  of  the  stream  the 
pure,  clear  tone. 

It  classifies  these  principles,  adapts  them  to  the  com- 
prehension of  man,  and  thus  establishes  a  system  true 
in  theory  and  natural  in  practice;  a  system  based  not 
on  human  rules,  but  on  divine  laws.  Vlt  discovers 
in  every  vocal  utterance  six  essential  elements:  Form, 
Quality,  Force,  Stress,  Pitch,  and  Movement  ;Vthat 
by  no  possibility  can  there  be  a  continuous  vocal 
utterance  in  which  these  elements  will  not  exist  in 
some  combination;  that  they  are  as  essential  to  vocal 
expression  as  are  the  notes  to  the  tune,  the  parts  of 
speech  to  the  sentence,  the  processes  —  addition,  sub- 
traction, multiplication,  and  division — to  the  solution 
of  problems  ;  that  all  other  properties  of  expression,  as 
quantity,  inflection,  emphasis,  cadence,  grouping,  and 
even  distinct  articulation,  are  simply  different  combina- 
tions of  these  essential  elements;  that  utterance  does 
not  depend  upon  them,  but  may  exist  without  them  ; 
hence  they  may  be  termed  simply  accidents  or  ac- 
complishments of  expression.  Science  perceives  that 
excellence  in  vocal  utterance,  whether  in  conversa- 
tion, reading,  speaking,  or  recitation,  depends  on  the 
perfect  illustration  and  correct  combination  of  these 


Introduction.  21 

elements,  and  that  the  defects  are  found  in  an  improp- 
er use  of  one  or  more  of  them.  It  determines  the 
combination  appropriate  for  the  expression  of  the  dif- 
ferent styles  of  thought  and  feeling,  classifies  these 
combinations,  and  thus  renders  the  art  of  Elocution  as 
simple  and  easy  as  the  art  of  music,  mathematics,  or 
language. 

Province  of  the  Art. 

The  Art  of  Elocution  cultivates  the  voice,  perfects 
the  articulation,  improves  the  respiration,  gives  ease 
and  grace  to  position  and  movement — propriety  and 
power  to  gesture  and  attitude.  It  teaches  the  practi- 
cal illustration  of  the  elements  and  their  innumerable 
combinations.  It  applies  these  in  the  expression  of 
the  different  styles  of  thought  and  feeling,  thus  em- 
bodying in  delivery  every  accomplishment  both  of 
voice  and  action. 

Advantages. 

The  proper  study  of  Elocution  will  make  the  family 
circle  more  agreeable,  the  social  circle  more  desirable, 
the  business  man  more  successful,  the  teacher  more 
instructive,  and  the  professional  man  more  impressive. 
Is  it  so  desirable  that  our  musical  instruments  upon 
which  we  occasionally  play  be  sweet-toned  and  in  per- 
fect tune,  and  of  no  importance  that  our  own  voices 
and  our  children's  voices  be  clear  and  sweet  and  musi- 
cal and  pure  ?  Are  easy,  graceful  positions  and  at- 
titudes so  important  in  pictures  and  statues  and  not 
desirable  in  ourselves?  Pleasant  tones  of  voice  and 
agreeable  manners  gain  friends,  win  confidence,  secure 
customers,  inspire  pupils,  and  delight  audiences.  They 
are  desirable  and  profitable  every-where.  It  would  be 
difficult  to  name  a  subject  taught  in  school  or  college 


22  Science  of  Elocution. 

that  affords  a  culture  so  broad,  so  thorough,  so  practi- 
cal as  the  study  of  Elocution.  It  most  happily  com- 
bines the  cultivation  of  the  physical,  the  mental,  and 
the  moral  powers. 

Physical  Culture. 

The  exercises  in  respiration,  articulation,  and  vocal- 
ization strengthen  the  lungs,  expand  the  chest,  devel- 
op the  muscles  of  the  throat  and  neck,  protecting 
them  against  cold  and  bronchial  affections,  call  into 
action  the  abdominal,  dorsal,  and  intercostal  muscles, 
and  thus  promote  digestion  and,  in  fact,  invigorate  all 
the  physical  powers  ;  they  cultivate  sweetness,  purity, 
power,  and  flexibility  of  voice.  The  exercises  in  action 
give  ease  and  grace  to  position  and  movement.  If,  for 
its  physical  culture  alone,  Elocution  were  introduced 
into  all  our  schools  and  colleges,  it  would  more  than 
compensate  for  all  the  expenditure  of  time  and  money. 
But  its  physical  advantages  are  the  least  important.  It 
furnishes  no  ordinary 

Mental  Culture. 

To  express  thought  and  feeling  appropriately  and  im- 
pressively they  must  be  clearly  comprehended.  But 
the  comprehension  of  the  thought  is  not  sufficient.  The 
science  of  Elocution  must  be  mastered — a  science  exact, 
abstruse,  exhaustless.  The  elements  and  principles  of 
this  science  must  be  perfectly  familiar  to  the  mind. 
The  adaptation  of  the  elements  and  the  application  of 
the  principles  in  the  expression  of  the  different  styles 
of  thought  and  feeling  cultivate  the  taste  and  judg- 
ment. To  recite  a  selection,  or  present  a  scene  impress- 
ively, it  must  be  memorized.  This  strengthens  the 
memory,  that  faculty  so  greatly  neglected  in  our  mod- 
ern methods  of  education.      Each  character  presented 


Introduction.  23 

must  be  clearly  conceived,  must  have  an  ideal  existence. 
This  exercises  the  imagination.  In  the  combination  of 
the  elements,  the  conception  of  the  characters,  and  the 
arrangement  of  the  scenes,  there  must  be  a  constant 
effort  to  produce  those  effects  most  pleasing  both  to 
eye  and  ear.  This  cultivates  the  aesthetic  taste  and 
develops  the  originating  faculties. 

But  the  study  of  Elocution  stops  not  with  the  cul- 
tivation of  the  physical  and  mental  faculties ;  it 
develops 

The  Moral  Powers. 

It  brings  us  into  intimate  communion  with  the 
noblest  thoughts  of  the  wisest  men  of  all  ages.  It 
makes  us  familiar  with  the  sublimity  of  Shakespeare, 
the  grandeur  of  Milton,  the  imagination  of  Scott,  the 
pathos  of  Dickens,  the  purity  of  Longfellow,  and  the 
inspiration  of  the  Bible.  It  cannot  be  but  that  the 
study  and  recitation  of  such  writings  will  ennoble  the 
moral  nature.  

Questions. 

1.  What  is  Elocution  ? 

2.  Where  used  ? 

3.  What  is  the  province  of  the  Science  of  Elocution  ? 

4.  How  do  we  ascertain  the  elements  and  principles  of  expression? 

5.  How  many  essential  elements  of  expression  are  there  ? 

6.  What  is  an  essential  element  ? 

1.  How  many  of  the  essential  elements  are  found  in  every  utter- 
ance? 

8.  What  is  an  accident  of  expression? 

9.  What  constitutes  excellence  in  expression  ? 

10.  Where  are  the  defects  found  ? 

11.  How  do  we  determine  the  combinations  appropriate  for  the  ex- 

pression of  the  different  styles  of  thought  and  feeling  ? 

12.  Define  the  province  of  the  art  of  Elocution. 

13.  Mention  some  of  the  physical  advantages  of  Elocution. 

14.  Some  of  the  mental. 

15.  Some  of  the  moral. 


24 


Science  of  Elocution. 


DIAGRAM 


ESSENTIAL   ELEMENTS   OF  VOCAL   EXPRESSION 


'  Radical. 

Median. 

"  Effusive. 

Final. 

FORMS.. 

Expulsive. 
Explosive. 

STRESS.... 

Compound. 

Thorough. 

Intermittent. 

Pure  Tone. 

Orotund. 

Very  High. 

Oral. 

High. 

Aspirate. 

QUALITIES. 

Pectoral. 
Guttural. 
Falsetto. 
Nasal. 

PITCH 

Middle. 
Low. 
,  Very  Low. 

Very  Rapid 

Subdued. 

Rapid. 

Moderate. 

FORCE.. 

Energetic. 
.  Impassioned. 

MOVEMENT. 

Moderate. 
Slow. 
Very  Slow. 

Accidents  of  Vocal  Expression. 


25 


DIAGRAM 


ACCIDENTS   OF  VOCAL   EXPRESSION 


Vocal. 


ARTICULATION.  {  Sub- Vocal.        EMPHASIS. 
[  Aspirates. 


Quality. 
Force. 
Stress. 
Pitch. 


QUANTITY. 


|  Long. 
1  Short. 


f  Ascending. 
CLIMAX ...  J 

[  Descending. 


f  Rising.  »A1Icro        f  Grammatlcal- 

INFLECTIONS..  PAUSES... 

[  Falling.  I  Oratorical. 


WAVES. 


CADENCE. 


f  Upward. 
Downward. 


r  Complete. 
1  Partial. 


GROUPING 


f  Form. 
Quality. 
Force. 
Stress. 
Pitch. 
Movement. 


26  Science  of  Elocution. 

Elementary  Sounds. 

An  elementary  sound  is  a  sound  produced  by  a  single 
impulse  of  the  organs  of  speech. 

Phonologists  generally  agree  that  there  are  forty- 
four  elementary  sounds  in  the  English  language. 

These  sounds  are  represented  by  letters  and  charac- 
ters. 

The  sounds  are  divided  into  vocals,  sub-vocals,  and 
aspirates  ;  the  letters  into  vowels  and  consonants. 

Chart  op  the  Elementary  Sounds. 

Long  Vocals. 
1.  e,  as  in  me,  eve. 


2. 

e, 

u 

serge,  verge, 

3. 

a, 

a 

aim,  ale. 

4. 

a, 

(S 

air,  care. 

5. 

a, 

a 

arm,  farm. 

6. 

6, 

u 

or,  for. 

7. 

o, 

tt 

oak,  no. 

8. 

Q, 

a 

ooze,  do. 

Short  Vocals. 

9. 

i,  as  in  ill,  it. 

10. 

e, 

tt 

ell,  let. 

11. 

o, 

a 

odd,  not. 

12. 

u, 

a 

up,  sup. 

13. 

a, 

a 

add,  sad. 

14. 

a, 

(i 

ask,  task. 

15. 

u, 

u 

full,  pull. 

Diphthongs. 

16. 

I,  as  in  ice,  lie. 

17. 

oi, 

tt 

oil,  boil. 

18. 

% 

tt 

mute,  tube. 

19. 

ou 

tt 

out,  sound. 

Vocal  Elements.  27 

Sub- Vocals. — Correlatives. 
20.  b,  as  in  boy,  ebb. 


21. 

a, 

a 

did,  rod. 

22. 

g> 

a 

go,  rag. 

23. 

g> 

(« 

gem,  judge. 

24. 

v, 

a 

veer,  valve. 

25. 

th, 

(( 

this,  breathe. 

26. 

z, 

a 

zone,  zeal. 

27. 

zh. 

a 

azure,  seizure* 

Sub-Vocals. — Liquids. 

28. 

1,  as 

i  in 

lo,  will. 

29. 

r, 

a 

row,  roar. 

30.  m,     "     moon,  home. 

31.  n,     "     no,  moon. 

32.  ng,   "     sing,  ring. 

Sub- Vocals. —  Coalescents. 

33.  w,  as  in  we,  wit. 

34.  y,      "     yet,  you. 

Aspirates.  — Explodents. 

35.  p,  as  in  pin,  pipe. 

36.  t,      "      till,  spot. 
3V.  k,     "      kick,  neck. 

38.  ch,  "      church,  which. 

Aspirates. — Continuants. 

39.  f,  as  in  file,  stiff. 

40.  th,  "     think,  breath. 

41.  s,     "     see,  pass. 

42.  sh,  "      shine,  wish. 

43.  h,    "      he,  hat. 

44.  wh,  "     whence,  what. 


28  Science  of  Elocution. 

LESSON    I. 

POSITION. 

In  beginning  a  course  of  lessons  in  Elocution  the  at- 
tention of  the  student  should  first  be  directed  to  the 
subject  of  position.  It  is  the  position  of  the  body  that 
first  attracts  attention.  If  it  be  easy  and  natural,  the 
impression  will  be  favorable  ;  if  stiff  and  awkward,  it 
will  be  unfavorable.  Again,  an  easy  position  promotes 
freedom  of  thought  and  smoothness  of  expression, 
while  a  restrained  manner  hinders  speech  and  embar- 
rasses utterance. 

Positions  of  the  Head,  Body,  Hands,  and  Feet. 

Stand  with  the  head  and  body  erect,  the  chest  fully 
expanded,  the  shoulders  well  thrown  back — not  rigid 
and  formal,  but  easy  and  natural.  Let  the  arms  hang 
easily  by  the  side,  or,  if  there  be  a  table  or  desk  near, 
let  one  hand  rest  gently  upon  it.  If  a  book  or  manu- 
script is  used,  hold  it  in  the  left  hand,  the  thumb  and 
fourth  finger  in  front,  the  other  three  fingers  back. 

Positions  of  the  Feet. 

First  Position. — Place  the  feet  so  that  they  will 
form  an  angle  of  nearly  ninety  degrees,  the  right  a  lit- 
tle in  advance,  and  about  three  or  four  inches  from  the 
left,  the  weight  of  the  body  resting  principally  on  the 
left,  the  center  of  the  heel  of  the  right  foot  opposite 
the  center  of  the  hollow  of  the  left. 

Second  Position. — The  second  position  is  just  the 
converse  of  the  first — the  weight  of  the  body  rests 
upon  the  right  foot,  the  left  a  little  in  advance  and 


Position.  29 

about  three  or  four  inches  from  the  right,  the  feet 
forming  an  angle  of  nearly  ninety  degrees. 

Third  Position. — In  the  third  position  the  right 
foot  is  about  six  or  eight  inches  obliquely  to  the  right, 
in  advance  of  the  left,  and  supports  the  weight  of  the 
body  ;  the  toe  or  ball  of  the  left  foot  gently  rests  on 
the  floor,  and  balances  the  body,  the  heel  being  raised 
about  an  inch.  The  feet  in  this  position  should  also 
form  a  right  angle. 

Fourth  Position. — In  the  fourth  position  the 
weight  of  the  body  rests  upon  the  left  foot,  which  is 
about  six  or  eight  inches  obliquely  to  the  left,  in 
advance  of  the  right,  the  toe  or  ball  of  the  right 
gently  resting  on  the  floor,  the  heel  raised  about  an 
inch,  the  feet  forming  a  right  angle. 

Exercises  in  Position. 

Class  rise  and  take  the  first  position. 

1.  Change  from  the  first  to  the  second  position  by 
placing  the  right  foot  back  of  the  left,  and  turning  the 
left  out  a  little. 

2.  Change  from  second  to  first  position  by  placing 
the  left  foot  back  of  the  right,  and  turning  the  toe  of 
the  right  out  a  little. 

3.  Change  from  first  to  third  position  by  stepping 
forward  about  six  or  eight  inches  with  the  right  foot, 
inclining  the  body  a  little  forward,  and  balancing  it 
with  the  toe  or  ball  of  the  left  foot — the  heel  of  the 
left  raised  about  an  inch  from  the  floor  and  inclined  in 
toward  the  heel  of  the  right. 

4.  Change  from  the  third  to  the  first  position  by 
bringing  up  the  left  foot  to  within  about  three  inches 
of  the  right,  and  allowing  the  weight  of  the  body  to 
rest  upon  the  left. 


30  Science  of  Elocution. 

Repeat  these  changes  several  times,  until  the  class  is 
perfectly  familiar  with  them. 
Class  may  sit. 


RESPIRATION. 

The  next  exercise  to  which  attention  should  be  di- 
rected is  breathing.  Excellence  in  expression  is  largely 
dependent  upon  appropriate  respiration.  Without  a 
sufficient  supply  of  breath  the  vocal  organs  cannot  per- 
form their  functions  properly.  In  ordinary  tranquil 
breathing  the  process  is  involuntary  and  unconscious  ; 
but  when  strength  and  force  of  voice  are  required,  the 
vocal  chords  must  be  swept  with  a  greater  volume  of 
air,  and  art  must  be  called  in  to  the  assistance  of 
nature. 

To  inhale  skillfully  and  exhale  properly,  to  keep 
the  lungs  constantly  supplied  with  breath  so  that  they 
can  furnish  to  the  larynx  instantly  the  requisite  supply 
of  air,  constitutes  the  art  of  breathing,  and  can  be 
acquired  only  by  practice.  Incorrect  breathing  not 
only  affects  the  vocal  utterance,  but  produces  bronchial 
trouble  and  pulmonary  diseases. 

The  process  of  respiration  includes  both  inhalation 
and  expiration.  In  the  act  of  inhaling  great  care 
should  be  taken  to  fill  the  lungs  quickly  and  quietly, 
and  at  such  times  as  will  least  inconvenience  yourself 
and  least  attract  the  attention  of  an  audience.  Always 
inhale  before  beginning  a  sentence  or  phrase,  before 
every  animated  or  impassioned  expression,  before  and 
after  every  emphatic  word,  and  at  all  pauses. 

In  exhaling  give  out  the  breath  as  economically  as 
possible,  using  no  more  than  is  necessary  to  produce  the 
required  tone. 


Articulation.  31 

Exercises  in  Respiration. 

Class  rise.  While  the  teacher  slowly  elevates  his 
hand  the  class  should  inhale  quietly,  filling  the  lungs  to 
their  utmost  capacity.  As  the  teacher  lowers  his  hand 
exhale  slowly  and  quietly.  Repeat  this  exercise  sev- 
eral times.     Class  may  then  sit. 


ARTICULATION. 

Distinctness  of  articulation,  though  not  essential  to 
expression,  is  an  invaluable  accomplishment.  It  en- 
ables the  speaker  to  express  his  thoughts  without 
weariness,  and  the  audience  to  hear  without  effort. 
Every  effort  to  understand  the  word  detracts  from  the 
thought.  In  large  assemblies  and  in  the  open  air  dis- 
tinctness of  articulation  is  indispensable.  Loudness  is 
not  distinctness.  Strong  emotion  and  passion,  if  not 
expressed  with  distinctness,  degenerates  into  rant  and 
vociferation. 

To  perfect  the  articulation,  practice  the  elementary 
sounds — first  separately,  then  in  combination. 

In  these  exercises  attention  should  be  given  to  the 
position  of  the  body,  the  breathing,  and  particularly  to 
the  positions  and  action  of  the  organs  of  articulation. 

Exercises  in  Articulation. 

First  pronounce  the  word  distinctly,  and  then  give 
each  sound  separately. 

e,  as  in  me. 
he,  the, 

meed,  heed, 

breathe,  these, 


32  Science  of  Elocution. 

1.  I  mean  what  I  say. 

2.  I  believe  it  every  word. 

3.  Be  not  overcome  by  evil. 

4.  Seems,  madam  !  nay,  it  is. 

5.  Tell  them  we  need  no  change. 

This  exercise  should  not  occupy  more  than  two  or  three  minutes, 
and  all  the  previous  explanation  and  exercises  should  be  given  in 
less  than  ten  minutes. 


FORMS  OF  VOICE. 

Before  beginning  the  discussion  of  the  Essential  Ele- 
ments, it  will  be  well  to  direct  the  attention  of  the 
pupil  again  to  certain  axiomatic  propositions  on  which 
these  lessons  are  based  : 

First.  In  every  vocal  utterance  there  are  six  essential 
elements. 

Second.  Excellence  in  vocal  expression  depends  on 
the  perfect  illustration  and  correct  combination  of  these 
elements. 

Third.  The  defects  in  vocal  utterance  are  produced  by 
an  imperfect  illustration  or  incorrect  combination  of  one 
or  more  of  these  elements. 

If  these  propositions  be  true,  it  follows  that  a  practi- 
cal and  theoretical  knowledge  of  the  essential  elements 
will  make  good  readers  and  speakers. 

The  primary  object  of  these  lessons  is  to  explain,  il- 
lustrate, and  apply  the  elements  and  principles  of  vocal 
expression.  All  other  exercises  and  explanations  are 
simply  auxiliary. 
y\  Form  is  the  manner  in  which  the  sound  is  sent  forth 
from  the  vocal  organs.  It  is  to  sound  what  shape  is  to 
matter.     There  are  but  three  forms  of  Voice;    there 


Effusive  Form.  33 

are  really  but  three  forms  of  sound,  effusive,  expulsive, 
and  explosive.  — K.. 

Every  sound,  whether  produced  by  the  human  voice, 
the  voice  of  bird  or  beast,  by  inanimate  nature,  or  me- 
chanical means,  must  be  in  one  of  these  forms. 


* 


EfTu§ivc  Form. 


The  Effusive  is  that  form  of  Voice  in  which  the  sound 
is  sent  forth  gently  from  the  vocal  organs  without 
abruptness  either  in  beginning  or  ending.  The  breath 
is  not  sent  forth  by  a  forcible  effort,  but  is  gently 
effused  into  the  surrounding  air. 

Advantages  of  Effusive  Form. 

The  Effusive  Form  gives  a  smoothness  to  the  tone 
and  a  mildness  to  utterance  which,  in  the  expression  of 
pathos  and  solemnity,  reverence  and  devotion,  produces 
one  of  the  most  pleasing  effects  in  delivery,  calling  out 
at  once  all  the  purer  and  nobler  feelings,  and  fitting 
the  mind  for  higher  and  holier  contemplations.  The 
absence  of  this  element  in  the  utterance  of  the  sublime 
passages  in  prayer  and  praise  gives  a  harshness  to  the 
expression.  In  the  milder  forms  of  awe  and  horror  the 
effusive  gives  intensity  to  the  utterance.  Owing  to 
our  defective  methods  of  elocutionary  instruction  ths 
Effusive  Form  is  rarely  heard. 

To  acquire  this  form  of  voice  practice  the  elementary 
sounds  and  words  in  the  following  manner  : 

First  inflate   the  lungs  fully,  and  then  exhale  the 
wreath  gently  in  a  prolonged  clear  tone,  being  careful 
to  expend  no  more  breath  than  is  necessary  to  produce 
the  tone. 
3 


34  Science  of  Elocution. 

Exercises  in  Effusive  Form. 
1.  e,  as  heard  in  me. 


2. 

a, 

u 

"     ale. 

3. 

a, 

a 

"     arm. 

4. 

a, 

u 

"     all. 

5. 

6, 

a 

"    old. 

6. 

56 

it 

u     ooze. 

Repeat  each  of  these  sounds  several  times.  Practice 
the  following  words  in  the  same  manner,  only  less  pro- 
longed : 

calm,  balm,  vow,  bowl, 

amuse,  refuse,  awful,         beauty. 

Principle  of  Expression,   or  when  the  Effusive 
Form  should  be  used. 

v  The  Effusive  is  the  appropriate  Form  of  voice  for  the 
expression  of  tranquillity,  solemnity,  sublimity,  pathos, 
grandeur,  reverence,  adoration,  devotion,  awe,  and  amaze- 
ment of  a  quiet  and  tranquil  character.  \ 

That  the  Effusive  Form  should  be  so  employed  is  not 
an  empyrical  rule,  by  following  which  excellence  in 
expression  may  be  acquired,  but  a  divine  principle  which 
must  be  observed  by  all  who  excel  in  reading  and 
speaking,  whether  they  are  conscious  of  it  or  not. 
This  principle  is  clearly  illustrated  wherever  God,  in 
nature,  expresses  by  animate  sounds  or  awakens  in  us 
by  inanimate  sounds  these  thoughts  and  feelings. 

The  dove,  lamenting  the  loss  of  its  mate,  always  ex- 
presses its  sadness  in  the  Effusive  Form.  The  wind  as 
it  moans  around  the  building,  awakening  in  us  sad  and 
gloomy  thoughts   and  feelings,   always  illustrate   the 


Effusive  Form.  t  35 

Effusive  Form.  The  roar  of  the  ocean,  awakening 
grand  and  sublime  thoughts  and  feelings,  is  Effusive  in 
Form. 

Suggestions  to  Teachers. 

In  instructing  classes  it  would  be  well  for  the 
teacher  to  read  one  line,  not  for  imitation,  but  to  illus- 
trate the  Effusive  Form,  and  then  have  the  class  repeat 
it  in  concert.  After  reading  one  stanza  in  this  manner 
let  the  class  be  seated,  and  then  call  upon  two  or  three 
pupils  successively  to  read  the  entire  stanza.  When 
two  or  three  have  read,  then  read  a  second  stanza  in 
concert,  and  again  call  on  two  or  three  individually, 
and  so  on  until  the  entire  selection  is  read.  Both  teacher 
and  pupils  should  bear  in  mind  that  the  prominent 
object  in  this  lesson  is  to  cultivate  the  Effusive  Form. 

EXAMPLE:  BATHOS. 

Effusive  Form. 


X 


The  Isle  of  Long  Ago. 

B.  F.  TAYLOB. 

1.   O  a  wonderful  stream  is  the  river  Time, 
As  it  runs  through  the  realm  of  tears, 
With  a  faultless  rhythm  and  a  musical  rhyme, 
And  a  boundless  sweep  and  a  surge  sublime,,/ 
As  it  blends  with  the  Ocean  of  Years. 

How  the  winters  are  drifting  like  flakes  of  snow, 

And  the  summers  like  buds  between,  ^ 
And  the  year  in  the  sheaf,  so  they  come  and  they  go, 
On  the  river's  breast,  with  its  ebb  and  flow,/ 
As  it  glides  in  the  shadow  and  sheen. 

There's  a  magical  isle  up  the  river  Time, 
Where  the  softest  of  airs  are  playing ; 
There's  a  cloudless  sky  and  a  tropical  clime, 
And  a  song  as  sweet  as  a  vesper  chime, 
And  the  Junes  with  the  roses  are  straying. 


36  Science  jf  Elocution. 

4.   And  the  name  of  that  Islets  the  Long  Ago, 
And  we  bury  our  treasures  there ; 

There  are  brows  of  beauty  and  bosoms  of  snow ; 

There  are  heaps  of  dust — but  we  loved  them  so ! 
There  are  trinkets  and  tresses  of  hair; 


There  are  fragments  of  song  that  nobody  sings ; , 

And  a  part  of  an  infant's  prayer ; 
There's  a  lute  unswept,  and  a  harp  without  strings ; 
There  are  broken  vows  and  pieces  of  rings, 

And  the  garments  she  used  to  wear. 


6.   There  are  hands  that  are  waved  when  the  fairy  shore 

By  the  mirage  is  lifted  in  air,    . 
And  we  sometimes  hear  through  the  turbulent  roar 
Sweet  voices  we  heard  in  the  days  gone  before,V 

When  the  wind  down  the  river  is  fair. 


O  remembered  for  aye  be  the  blessed  Isle, 

All  the  day  of  our  life  until  night ;  \ 
When  the  evening  comes  with  its  beautiful  smile, 
And  our  eyes  are  closing  to  slumber  awhile,  ^ 
May  that  "  Greenwood  "  of  Soul  be  in  sight !   \ 


Questions. 

1.  What  is  the  first  exercise  to  winch  the  attention  of  the  pupil  is 

called  ? 

2.  Why? 

3.  Describe  the  position  of  the  head,  body,  and  arms. 

4.  How  many  positions  of  the  feet  are  given  ? 

5.  Describe  and  illustrate  each. 

6.  What  was  the  second  exercise  in  this  lesson  ? 

7.  What  are  the  advantages  of  exercises  in  Respiration? 

8.  How  should  the  lungs  be  filled  ? 

9.  When  should  we  inhale  so  as  least  to  attract  attention  or  inter- 

rupt the  utterance  ? 

10.  What  was  the  third  exercise  ? 


Effusive  Form.  87 

11.  Is  articulation  essential  to  expression? 

J  2.  What  are  the  advantages  of  a  distinct  articulation  ? 

13.  What  essential  element  is  presented  in  this  lesson  ? 

14.  Upon  what  propositions  are  these  lessons  based  ?   Repeat  them. 

15.  If  these  propositions  are  true  what  conclusion  follows? 

16.  What  is  the  primary  object  of  these  lessons? 

1 7.  Define  Form  of  Voice. 

18.  How  many  Forms  are  there? 

19.  Define  Effusive  Form. 

20.  Illustrate  it. 

21.  What  are  the  advantages  of  Effusive  Form  ? 

22.  When  should  the  Effusive  Form  be  used? 

23.  How  do  we  ascertain  when  the  Effusive  Form  should  be  used  ? 

24.  What  is  a  principle  of  expression  ? 

26.  Where  iu  nature  do  we  find  the  principle  in  this  lesson  illus- 
trated? 

26.  Why  should  the  selection  in  this  lesson  be  giveu  in  the  Effii' 
sive  Form  ? 


DIAGRAM  OF  FIRST  LESSON. 

{Position. 
Breathing. 
Phonics. 

'  Definition. 


2.  Element— Form. 


fEffusive. 
Division ■{  Expulsive. 

^  Explosive 
Illustration 


C  Definition. 
Illustration. 
Advantages. 

3.  Topic— Effusive  Form.  <  How  Acquired. 

Class  Exercises. 
Principle  of  Expression 
[  Examples. 

4.  Selection  for  Practice.     "  Isle  of  Long  Ago." 


38  Science  of  Elocution. 

LESSON    II. 
Exercises  in  Position. 

Take  first  position. 

1.  Change  from  first  to  second  by  placing  the  right 
foot  back  of  the  left  and  turning  out  the  toe  of  left 
slightly. 

2.  Pass  from  second  to  fourth  position  by  step- 
ping forward  six  or  eight  inches  with  the  left  foot 
and  balancing  the  body  with  the  toe  or  ball  of  the 
right. 

3.  Bring  the  right  foot  up  to  second  position. 

4.  Change  to  third  position. 

5.  Change  to  first  position. 
Repeat  the  changes  several  times. 

Exercises  in  Respiration. 

Inhale  slowly  and  exhale  rapidly. 
Repeat  several  times. 

Exercises  in  Articulation. 

e,  as  in  earth, 
earth,  ermine, 

verge,  mirth, 

prefer,  serge. 

1.  I  am  in  earnest. 

2.  I  prefer  not  to  do  it. 

3.  Crown  him  with  myrtle. 

4.  He  is  on  the  verge  of  ruin. 

5.  The  unsullied  sanctity  of  your  ermine. 

Review  Effusive  Form  theoretically  and  practically. 


X 


Expulsive  Form.  39 


Expulsive  Form. 


The  Expulsive  is  that  form  of  voice  in  which  the 
sound  is  sent  forth  from  the  organs  in  an  abrupt  and 
forcible  manner.  To  produce  the  Expulsive  Form  the 
breath  must  be  forced  from  the  lungs  to  the  larynx  V 
by  a  vigorous  inward  and  upward  action  of  the  abdo- 
minal muscles  and  diaphragm. 

The  larynx  is  the  instrument  of  sound,  the  lungs  the 
reservoir  of  air,  and  the  abdominal  muscles  and  dia- 
phragm the  power  for  propelling  the  air.  It  is  the 
inward  and  upward  action  of  the  abdominal  muscles 
that  compresses  the  lungs,  and  thus  keeps  the  larynx 
furnished  with  a  sufficient  supply  of  air.  Many  cases 
of  speaker's  sore  throat  are  caused  by  an  inefficient 
action  of  the  abdomen. 

Advantages. 

No  exercise  is  more  beneficial  for  strengthening  and 
developing  the  voice  than  practice  on  this  form. 

It  is  the  Expulsive  that  gives  life,  energy,  and  spirit 
to  all  forcible  speaking.  The  speaker  who  fails  in 
regard  to  the  effect  of  this  property  of  utterance  solicits 
our  pity  rather  than  commands  our  respect.  Divested 
of  this  form  of  voice,  the  manly  and  powerful  eloquence 
of  Demosthenes,  Webster,  Chatham,  and  Clay  would 
become  ridiculous  and  contemptible. 

In  practicing  this  exercise  always  stand  or  sit  erect, 
keep  the  chest  well  expanded,  and  be  very  careful  to 
maintain  a  vigorous  inward  and  upward  action  of  the 
abdominal  muscles  and  diaphragm. 

Repeat  the  following  sounds,  words,  and  sentences 
in  a  full,  clear,  expulsive  form : 


40 


Science  of  Elocution. 


Exercises  in  Expulsive  Form. 
1.  e,  as  heard  in  me. 


2.  S,     " 

"      end. 

3.  a,     " 

"     add. 

4.  5,     " 

"     odd. 

5.  I,      « 

"     ill. 

6.  u,     " 

"     up. 

on,              orb, 

air, 

end, 

up,             down, 

sink, 

live. 

add,            old, 

bold, 

bond, 

speak,         fate, 

demand, 

defy. 

1.  Firm  in  his  faith  he  stands. 

2.  He  has  reached  the  zenith  of  his  glory. 

3.  Through  the  thronged  crowd  he  forced  his  way. 


exercises. 

Contrasting  Effusive  and  Expulsive  Forms. 

Repeat  each  of  the  above  sounds,  words,  and  sen- 
tences first  with  Effusive,  then  with  Expulsive,  Form. 

Expulsive  Form — When  Used. 

It  is  a  principle  of  expression  that  the  Expulsive 
Form  should  always  be  used  in  the  expression  of  nar- 
/  r  alive,  descriptive,  didactic,  animated,  argumentative, 
and  impassioned  poetic  thought,^  expressed  in  scientific 
and  literary  lectures,  doctrinal  and  practical  sermons, 
senatorial  and  political  speeches,  and  formal  orations. 
This  principle  is  illustrated  in  the  direct,  earnest  utter- 
ances of  children,  the  forcible  speech  of  the  savage,  the 
bark  of  the  dog,  the  lowing  of  cattle,  the  bleating  of 
sheep,  neighing  of  horses,  the  broken  sound  of  the  cas- 
cade, and  the  deep  roar  of  the  thunder,  all  of  which  ex- 


Expulsive  Form.  41 

press  thought  or  feeling  more  or  less  didactic,  narrative, 
or  impassioned. 

EXAMPLE:   DIDACTIC  THOUGHT. 

Expulsive  Form. 


x 


Industry  and  Eloquence. 

WIRT. 

1.  In  the  ancient  republics  of  Greece  and  Rome  oratory  was 
a  necessary  branch  of  a  finished  education.  A  much  smaller 
proportion  of  the  citizens  were  educated  than  among  us,  but 
of  these  a  much  larger  number  became  orators.  No  man 
could  hope  for  distinction  or  influence  and  yet  slight  this  art. 
The  commanders  of  their  armies  were  orators  as  well  as  sol- 
diers, and  ruled  as  well  by  their  rhetorical  as  by  their  military 
skill.  There  was  no  trusting  with  them,  as  with  us,  to  a  nat- 
ural facility  or  the  acquisition  of  an  accidental  fluency  by 
occasional  practice. 

2.  They  served  an  apprenticeship  to  the  art.  They  passed 
through  a  regular  course  of  instruction  in  schools  ;  they  sub- 
mitted to  a  long  and  laborious  discipline  ;  they  exercised 
themselves  frequently,  both  before  equals  and  in  the  presence 
of  teachers,  who  criticised,  reproved,  rebuked,  excited  emula- 
tion, and  left  nothing  undone  which  art  and  perseverance 
could  accomplish. 

3.  The  greatest  orators  of  antiquity,  so  far  from  being  fa- 
vored by  natural  tendencies,  except  indeed  in  their  high  intel- 
lectual endowments,  had  to  struggle  against  natural  obstacles, 
and,  instead  of  growing  up  spontaneously  to  their  own  unri- 
valed eminence,  they  forced  themselves  forward  by  the  most 
discouraging  artificial  process. 

4.  Demosthenes  combated  an  impediment  in  speech  and  an 
ungainliness  of  gesture  which  at  first  drove  him  from  the 
forum  in  disgrace.  Cicero  failed  at  first  through  weakness  of 
lungs  and  an  excessive  vehemence  of  manner  which  wearied 
the  hearers  and  defeated  his  own  purpose.  These  defects  were 
conquered  by  study  and  discipline.  He  exiled  himself  from 
home,  and  during  his  absence  in  various  lands  passed  not  a 
day  without  a  rhetorical  exercise,  seeking  the  masters  who 


42  Science  of  Elocution. 

were  most  severe  in   criticism  as  the  means  of  leading  him  to 
the  perfection  at  which  he  aimed. 

5.  Such,  too,  was  the  education  of  their  other  great  men. 
They  were  all,  according  to  their  ability  and  station,  orators  ; 
orators,  not  by  nature  or  accident,  but  by  education,  formed  in 
strict  process  of  rhetorical  training. 

6.  The  inference  to  be  drawn  from  these  observations  is,  that 
if  so  many  of  those  who  received  an  accomplished  education 
became  accomplished  orators,  because  to  become  so  was  one 
purpose  of  their  study,  then  it  is  in  the  power  of  a  much 
larger  proportion  among  us  to  form  ourselves  into  creditable 
and  accurate  speakers.  The  inference  should  not  be  denied 
until  proved  false  by  experiment. 

7.  Let  this  art  be  made  an  object  of  attention ;  let  young 
men  train  themselves  to  it  faithfully  and  long,  and  if  any  of 
competent  talents  and  tolerable  science  be  found  at  last  inca- 
pable of  expressing  themselves  in  continued  and  connected  dis- 
course, so  as  to  answer  the  ends  of  public  speaking,  then,  and 
not  till  then,  let  it  be  said  that  a  peculiar  talent  or  natural 
aptitude  is  requisite,  the  want  of  which  must  render  effort 
vain ;  then,  and  not  till  then,  let  us  acquiesce  in  this  indolent 
and  timorous  notion,  which  contradicts  the  whole  testimony 
of  antiquity  and  all  the  experience  of  the  world. 


Questions. 

1 .  What  is  the  element  in  this  lesson  ? 

2.  What  is  the  Topic? 

3.  Define  Expulsive  Form. 

4.  Explain  the  action  of  the  diaphragm  and  abdominal  muscles  in 

produeing  the  Expulsive  Form. 

5.  What  is  the  instrument  of  sound  ? 

6.  What  is  the  reservoir  of  air  ? 

7.  What  are  the  advantages  of  the  Expulsive  Form  ? 

8.  How  does  the  action  of  the  abdomen  assist  the  vocal  utter- 

ance? 
9    When  should  the  Expulsive  Form  be  used  ? 

10.  How  do  we  ascertain  this  principle? 

11.  Give  some  examples. 

12.  Why  does  the  selection  require  Expulsive  Form? 


Expulsive  Form.  43 


DIAGRAM  OF  SECOND  LESSON. 

f  Position. 

1.  Exercises <  Breathing. 

[Phonics. 

2.  Review  First  Lesson  Theoretically  and  Practically. 

3.  Element — Form. 

Definition. 

Illustration. 

Advantages. 

Principle  of  Expression,  or  when 

used. 
b  Example. 


LESSON    III. 

Exercises   in   Position. 

1.  Class  take  first  position. 

2.  Change  from  first  to  second  position  by  stepping 
forward  with  the  left  foot. 

3.  Change  from  second  to  first  position  by  stepping 
forward  with  the  right  foot. 

Exercises  in  Breathing. 

1.  Inhale  quickly  and  quietly,  and  exhale  rapidly  and 
audibly,  on  the  sound  of  h. 

2.  Inhale  slowly  and  exhale  suddenly  on  the  sound 
of  the  letter  h.    Repeat  several  times. 

Exercises  in  Articulation. 

a,  as  in  aim. 

aim,  ale, 

age,  pale, 

pray,  day. 


44  Science  of  Elocution. 

1.  He  is  a  saint. 

2.  May  we  pay  our  way  ? 

3.  They  say  that  we  will  fail. 

4.  If  we  fail  we  can  do  no  worse. 

5.  He  may  pray,  but  it  will  be  all  in  vain. 
Review  briefly  the  Effusive  and  Expulsive  Forms. 

Explosive  Form. 

>7  The  Explosive  is  that  form  of  voice  in  which  the 
sound  bursts  forth  instantaneously  from  the  organs. 
It  resembles  in  suddenness  the  crack  of  a  pistol  or  the 
report  of  a  rifle. 

This  form  of  voice  proceeds  from  a  violent  and  ab- 
rupt exertion  of  the  abdominal  muscles  acting  on  the 
diaphragm,  and  thus  discharging  a  large  volume  of  air 
previously  inhaled. 

"The  breath  in  this  process  is,  as  it  were,  dashed 
against  the  glottis  or  lips  of  the  larynx,  causing  a 
loud  and  instantaneous  explosion.  Just  before  the  act 
of  explosion  the  chink  of  the  glottis  is  for  a  mo- 
ment closed,  and  a  resistance  offered  to  the  escape  of 
the  breath,  by  a  firm  compression  of  the  lips  of  the 
larynx,  and  downward  pressure  of  the  epiglottis. 
After  this  instant  pressure  and  resistance  follows  the 
explosion  caused  by  the  appulsive  act  of  the  abdominal 
muscles  and  diaphragm  propelling  the  breath  with  pow- 
erful and  irresistible  force  on  the  glottis  and  epiglottis, 
which  at  length  give  way,  and  suffer  the  breath  to 
escape  with  a  loud  and  sudden  report  of  a  purely  ex- 
plosive character. 

Advantages. 

No  exercise  is  so  effectual  for  imparting  energy  to 
the  tone,  or  strengthening  weak  organs,  as  practice  on 
the  Explosive  Form  of  voice. 


Explosive  Form.  45 

Combined  with  the  Expulsive,  in  argumentative  dis- 
course, it  gives  life  and  energy  to  the  utterance. 
"  This  form  of  the  human  voice  (the  Explosive)  is 
one  of  the  most  impressive  in  its  effects.  By  a  law 
of  our  constitution  it  acts  with  an  instantaneous  shock 
on  the  sympathetic  nerve,  and  rouses  the  sensibility 
of  the  whole  frame ;  it  summons  to  instant  action 
all  the  senses,  and  in  the  thrill  which  it  sends  from 
nerve  to  brain  we  feel  its  awakening  and  inciting 
power  over  the  mind. 

"  With  the  rapidity  of  lightning  it  penetrates  every 
faculty,  and  sets  it  instinctively  on  the  alert. 

"It  seems  designed  by  nature  as  the  note  of  alarm 
to  the  citadel  of  the  soul."  But  it  must  not  be  prac- 
ticed too  frequently  or  forcibly.  Like  all  violent  ex- 
ercises it  must  be  used  judiciously. 

Practice  the  following  sounds,  words,  and  sentences 
with  all  the  force  and  abruptness  you  can  command, 
being  careful,  however,  not  to  give  too  high  a  pitch  to 
the  utterance. 

In  connection  with  these  exercises  practice  the  me- 
chanical act  of  coughing  and  laughing. 


Exercises  in  Explosive  Form. 


1. 

I,  as  heard  in  it. 

2. 

e,      "          "     let. 

3. 

a,     "          "     add. 

4. 

a,     "         "    ask. 

5. 

6,      "          "    odd. 

6. 

ti,      "          "    up. 

back, 

hack,         trip, 

mock, 

stuck,        lot, 

lied. 


/ 


46  Science  of  Elocution. 

1.  On  !  Stanley  on  ! 

2.  Forward  the  Light  Brigade  ! 

3.  Stand  to  your  guns,  men  ! 

EXERCISES. 

Contrasting  Effusive.  Expulsive,  and  Explosive  Forms. 

Repeat  the  elements,  words,  and  sentences  in  the 
Effusive,  Expulsive,  and  Explosive  Forms. 

Explosive  Form — When  Used. 

The  Explosive  Form  is  appropriately  employed  in 
the  expression  of  ecstatic  joy,  the  sudden  cry  of  terror 
and  alarm,  the  quick,  sharp  command. 

This  principle  is  illustrated  in  the  merry  ringing 
laugh  of  childhood,  the  gladsome  bark  of  the  dog,  the 
joyous  song  of  birds,  the  angry  yell  of  the  Indian  war- 
rior, the  sharp,  rapid  stroke  of  the  fire  bell,  the  sudden 
report  of  the  rifle,  the  startling  peal  of  thunder. 

EXAMPLE :  JOYOUS  THOUGHT. 

Explosive  Form. 

Voice   of  Spring. 

MRS.    HEMANS. 

1  I  come,  I  come !  ye  have  called  me  long, 

I  come  o'er  the  mountains  with  light  and  song ; 
Ye  may  trace  my  step  o'er  the  wakening  earth, 
By  the  winds  which  tell  of  the  violet's  birth, 
By  the  primrose  stars  in  the  shadowy  grass, 
By  the  green  leaves  opening  as  I  pass. 

2  I  have  breathed  on  the  south,  and  the  chestnut-flowers 
By  thousands  have  burst  from  the  forest-bowers : 
And  the  ancient  graves,  and  the  fallen  fanes, 

Are  veiled  with  wreaths  on  Italian  plains. 
But  it  is  not  for  me,  in  my  hour  of  bloom, 
To  speak  of  the  ruin  or  the  tomb ! 


Explosive  Form.  47 

3  I  have  passed  o'er  the  hills  of  the  stormy  north, 
And  the  larch  has  hung  all  his  tassels  forth, 
The  fisher  is  out  on  the  sunny  sea, 

And  the  reindeer  bounds  through  the  pasture  free ; 

And  the  pine  has  a  fringe  of  softer  green, 

And  the  moss  looks  bright  where  my  step  has  been. 

4  I  have  sent  through  the  wood-paths  a  gentle  sigh, 
And  called  out  each  voice  of  the  deep-blue  sky, 
From  the  night-bird's  lay  through  the  starry  time, 
In  the  groves  of  the  soft  Hesperian  clime, 

To  the  swan's  wild  note  by  the  Iceland  lakes, 
Where  the  dark  fir-bough  into  verdure  breaks. 

5  From  the  streams  and  founts  I  have  loosed  the  chain; 
They  are  sweeping  on  to  the  silvery  main, 

They  are  flashing  down  from  the  mountain  brows, 
They  are  flinging  spray  on  the  forest  boughs, 
They  are  bursting  fresh  from  their  sparry  caves, 
And  the  earth  resounds  with  the  joy  of  waves. 

6  Come  forth,  O  ye  children  of  gladness,  come ! 
Where  the  violets  lie  may  now  be  your  home. 
Ye  of  the  rose-cheek  and  dew- bright  eye, 
And  the  bounding  footstep,  to  meet  me  fly ; 
With  the  lyre,  and  the  wreath,  and  the  joyous  lay, 
Come  forth  to  the  sunshine,  I  may  not  stay. 

7  Away  from  the  dwellings  of  careworn  men, 
The  waters  are  sparkling  in  wood  and  glen ; 
Away  from  the  chamber  and  dusky  hearth, 
The  young  leaves  are  dancing  in  breezy  mirth; 
Their  light  stems  thrill  to  the  wild- wood  strains, 
And  youth  is  abroad  in  my  green  domains. 

S  The  summer  is  hastening,  on  soft  winds  borne ; 
Ye  may  press  the  grape,  ye  may  bind  the  corn ; 
For  me,  I  depart  to  a  brighter  shore — 
Ye  are  marked  by  care,  ye  are  mine  no  more. 
I  go  where  the  loved  who  have  left  you  dwell, 
And  the  flowers  are  not  Death's — fare  ye  well,  farewell  I 


48  Science  of  Elocution. 


Questions. 

1.  What  is  the  element  in  thia  lesson? 

2.  Describe  the  Explosive  Form. 

3.  How  is  it  produced  ? 

4.  What  are  the  advantages  of  the  Explosive  Form? 

5.  When  should  the  Explosive  Form  be  used  ? 

6.  Where  in  nature  is  this  principle  illustrated? 

7  Why  does  the  selection  require  the  Explosive  Form  ? 

DIAGRAM  OF  THIRD  LESSON. 

{Position. 
Breathing. 
Phonics. 
2.  Review  Second  Lesson. 


3.  Element— Form. 


4.  Topic— Explosive  Form. 


Definition. 

Illustration. 

Advantages. 

How  Acquired. 

Class  Exercises. 

Principle  of  Expression. 

Examples. 


LESSON    IV. 

Exercises  in   Position. 

Take  first  position. 

1.  Change  from  first  to  third  position  by  stepping 
forward  about  six  or  eight  inches  with  the  right  foot, 
and  resting  the  weight  of  the  body  upon  the  right. 

2.  Change  from  the  third  to  first  position  by  bring- 
ing up  the  left  foot  to  within  about  three  inches  of  the 
right,  and  resting  the  weight  of  the  body  upon  the 
left. 

3.  Change  from  the  first  to  the  fourth  position  by 
stepping  forward  with  the  left  foot  about  six  or  eight 


Qualities  of  Voice.  49 

inches,  and  balancing  the  body  with  the  toe  or  ball  of 
the  right  foot. 

4.  Change  from  fourth  to  first  position  by  bringing 
up  the  right  foot. 

Exercises  in  Breathing  and  Gesture. 

Inflate  the  lungs,  and  at  the  same  time  raise  the  tips 
of  the  fingers  to  the  shoulders,  strike  downward  forci- 
bly, and  at  the  same  time  expel  the  breath  from  the 
lungs. 

Repeat  the  exercise  several  times. 

Exercises  in  Articulation. 

a,  as  in  air. 
there,  lair,  dare, 

chair,  prepare,       prayer. 

1.  Dare  to  do  right. 

2.  The  air  is  very  cool. 

3.  Swear  by  my  sword. 

4.  Come,  boy,  prepare  yourself. 

5.  Air,  earth,  and  sea,  resound  his  praise. 
Review  carefully  the  Forms  of  Voice. 


y 


QUALITIES  OF  VOICE. 

Quality  is  the  kind  of  tone,  the  purity  or  impurity 
of  the  voice S\  Every  vocal  utterance  must  have  some 
quality.  This  may  be  Pure  Tone,  Orotund,  Oral, 
Aspirate,  Pectoral,  Guttural,  Falsetto,  or  Nasal,  or  a 
combination  of  two  or  more  of  these. 

Qualities  of  voice  may  be  divided  according  to  their 
use  and  importance  into  three  classes.     To  the  first 


50  Science  of  Elocution. 

class  belong  the  Pure  Tone,  Orotund,  and  Oral.  These 
qualities  are  employed  in  the  expression  of  the  higher 
and  nobler  styles  of  thought  and  feeling.  Nature 
teaches  this  principle  in  the  pure  clear  notes  of  the 
birds,  the  grand  roar  of  Niagara,  the  sad  tones  of 
the  animals  in  their  expressions  of  sympathy  and  suf- 
fering. To  the  second  class  belong  the  Aspirate,  Pec- 
toral, and  Guttural,  qualities  employed  chiefly  in  the 
expression  of  the  harsh,  repulsive,  malignant  thoughts 
and  feelings.  This  we  learn  from  the  hiss  of  the 
snake,  aspirate  in  quality ;  the  growl  of  the  lion,  tiger, 
hyena,  and  all  blood-thirsty  animals,  always  more  or 
less  guttural  or  pectoral  in  character.  To  the  third 
class  belong  the  Falsetto  and  Nasal,  qualities  having 
but  little  in  common,  and  the  classification  not  founded 
in  nature.  They  are  simply  thrown  together  here  to 
present  the  subject  in  a  more  systematic  order.  They 
are  chiefly  used  in  the  expression  of  burlesque  and 
mimicry,  though  the  falsetto  is  often  employed  in  the 
expression  of  the  elevating  and  ennobling.  Many 
teachers  and  writers  upon  this  subject  have  divided 
the  qualities  of  voice  into  two  classes,  "Pure"  and 
"  Impure,"  placing  under  the  first  class  only  Pure  Tone 
and  Orotund,  and  under  the  second  class  all  the  others. 
They  have  taught  that  only  the  qualities  termed 
"Pure"  should  be  cultivated,  that  they  are  the  only 
qualities  required,  that  all  others  are  defective,  im- 
proper, and  should  be  avoided.  Now,  while  the  Pure 
Tone  and  Orotund  are  the  qualities  most  frequently 
employed,  they  are  not  the  only  qualities  required; 
Aspirate,  Pectoral,  Guttural,  Oral,  Falsetto,  and  even 
Nasal  being  indispensable  to  the  expression  of  certain 
styles  of  thought  and  feeling.  To  express  fear  or  awe 
with  Pure  Tone  is  as  inappropriate  as  to  express  joy 


Pure  Tone.  51 

with  Aspirate ;  to  express  revenge  or  hate  with 
Orotund  is  as  incorrect  as  to  utter  sublimity  with 
Guttural. 

Appropriate  utterance  requires  the  adaptation  of  the 
quality  of  voice  to  the  sentiment  expressed. 

To  determine  the  quality  appropriate  for  the  expres- 
sion of  the  different  styles  of  thought  and  feeling  is  an 
important  part  of  the  study  of  Elocution.  Here,  as 
every-where  in  the  study  of  this  science  and  art,  we 
must  "  Hold  the  mirror  up  to  Nature."  Her  teach- 
ings are  infallible ;  her  guidance  unerring.  If  we 
but  learn  her  lessons  aright,  we  will  understand  the 
principles  of  expression;  if  we  but  embody  her  teach- 
ings in  practice,  we  will  correctly  illustrate  the  art  of 
Elocution. 

Upon  no  element  of  expression  are  the  teachings  of 
Nature  more  explicit  than  upon  Quality.  In  every 
wind  that  blows,  in  every  thunder-peal  that  rolls,  in 
every  laughing,  dancing  brook,  and  every  storm-tossed 
wave,  we  find  an  instructive  lesson. 

Each  has  a  quality  appropriate  to  the  thought  or 
feeling  awakened. 

As  quality  cannot  exist  except  in  some  form,  and  as 
all  the  qualities  may  be  given  in  each  of  the  forms, 
each  quality  will  be  presented  in  the  three  forms. 

XPure  Tone. 
Pure  Tone  is  that  quality  of  voice  in  which  all  the 
breath  is  converted  into  a  clear,  round,  smooth,  musical 
sound,  with  the  resonance  in  the  back  part  of  the  roof  of 
the  mouth.  It  is  free  from  all  Aspirate,  Oral,  Nasal, 
or  other  impure  qualities.   Jl/ 

Owing  to  our  neglect  off  Voice-culture  this  quality, 
so  peculiar  to  childhood,  is  rarely  possessed  in  more 


52  Science  of  Elocution. 

mature  age.  The  restraining  influences  of  the  school- 
room tend  directly  to  destroy  all  the  natural  purity 
and  sweetness  of  the  voice. 

Advantages. 

The  advantages  of  Pure  Tone  are  twofold  —  first, 
to  the  speaker  ;  second,  to  the  hearer.  It  is  produced 
with  less  expenditure  of  breath  than  any  other  qual- 
ity ;  its  effect  upon  the  vocal  organs  is  beneficial 
rather  than  injurious ;  with  the  same  effort  it  is  heard 
at  a  greater  distance  than  any  other  quality  ;  its  clear 
musical  properties  give  a  distinctness  to  articulation 
and  an  ease  to  utterance  grateful  to  the  ear;  it  pro- 
duces none  of  the  jarring  effects  experienced  in  list- 
ening to  a  speaker  whose  voice  is  harsh,  hard,  or  in 
any  way  impure  in  quality.  / 

To  cultivate  and  restore  this  natural  quality,  practice 
daily  the  following  exercises  with  the  strictest  atten- 
tion to  the  purity  of  the  tone. 

Repeat  a  number  of  times  each  of  the  following  ele-, 
ments  in  the  Effusive  Form  with  the  utmost  purity  of 
tone.  It  will  be  noticed  that  the  object  of  the  exercise 
on  page  33  was  to  cultivate  Effusive  Form  without 
reference  to  quality  or  other  attributes.  The  special 
object  of  this  exercise  is  to  cultivate  Pure  Tone,  and, 
at  the  same  time,  to  retain  and  perfect  what  was 
gained  by  the  exercises  under  Form.  It  should  be  con- 
stantly borne  in  mind  that  in  connection  with  each 
new  exercise,  attention  should  be  given  to  all  the  pre- 
vious exercises,  so  that  when  the  exercises  in  move- 
ment of  Voice  are  presented  (the  last  exercises  under 
the  Essential  elements),  they  will  be  not  only  exercises 
in  Movement,  but  also  in  Form,  Quality,  Force,  Stress, 
and  Pitch. 


Puke  Tone,  Effusive  Form.  53 

Exercises  in  Pure  Tone,  Effusive  Form. 


I. 

e,  as 

heard 

in  me,  see. 

2. 

a, 

it 

ale,  pale. 

3. 

a, 

t< 

father,  arm. 

4. 

a, 

a 

all,  talk. 

5. 

o, 

a 

no,  old. 

6. 

66, 

a 

moon,  food. 

Repeat  the  words  with  less  prolongation. 

all,  fall,  breathe      softly, 

gently,  wondrous,  bow,  heaven, 

beauteous,       brow,  sleep,         pall. 

Pure  Tone,  Effusive  Form — When  Used. 

In  the  first  lesson  you  were  taught  that  it  is  a 
principle  of  expression  that  the  Effusive  Form  should 
always  be  employed  in  the  expression  of  pathos,  solem- 
nity, sublimity,  grandeur,  reverence,  adoration,  and 
devotion,  of  a  quiet  and  tranquil  character. 

Now  if  we  limit  the  Effusive  Form  to  Pure  Tone  we 
necessarily  exclude  many  styles  of  thought  and  feel- 
ing, for  Effusive  Form  has  greater  extension  than 
Effusive  Form,  Pure  Tone ;  and  each  element  un- 
limited will  have  a  wider  range  in  expression  than 
when  limited  even  by  one  other  element.  Pure  Tone, 
Effusive  Form,  is  appropriately  employed  chiefly  in 
the  expression  of  pathetic,  solemn,  serious,  and  tranquil 
thought.  This  principle  is  illustrated  in  the  plantive 
cooing  of  the  dove,  the  solemn  tones  of  the  iEolian 
harp,  and  the  tranquil  murmur  of  the  brocK,  all  of 
which  are  not  only  Effusive  in  Form  but  Pure  in 
Quality. 


54  Science  of  Elocution. 


x 


EXAMPLE:  SOLEMNITY. 
Pure  Tone,  Effusive  Form. 

Nearer  Home 

PHEBE  CARY. 

1  One  sweetly  solemn  thought 

Comes  to  me  o'er  and  o'er; 
I'm  nearer  my  home  to-day 
Than  I  ever  have  been  before. 

2  Nearer  my  Father's  house, 

Where  the  many  mansions  be ; 
Nearer  the  great  white  throne, 
Nearer  the  crystal  sea ; 

3  Nearer  the  bound  of  life, 

Where  we  lay  our  burdens  down; 
Nearer  leaving  the  cross, 
Nearer  gaining  the  crown. 

4  But  the  waves  of  that  silent  sea 

Roll  dark  before  my  sight, 
That  brightly  the  other  side 
Break  on  a  shore  of  light. 

5  O,  if  my  mortal  feet 

Have  almost  gained  the  brink, 
If  it  be  I  am  nearer  home 
Even  to-day  than  I  think, 


6  Father,  perfect  my  trust, 
Let  my  spirit  feel  in  death 
That  her  feet  are  firmly  set 
On  the  Rock  of  a  living  faith. 


x 


Questions. 

1.  Define  quality. 

2.  How  many  qualities  of  voice  are  there  ? 

3.  Into  how  many  classes  are  they  divided  ? 

4.  To  the  first  class  belong  what  qualities?     When  used? 

5.  To  the  second  class  belong  what  qualities?     When  used? 


Pure  Tone,  Effusive  Form. 


55 


6.  To  the  third  class  belong  what  qualities  ?    When  used  ? 

7.  Where  do  we  learn  when  the  different  qualities  should  be  used? 

8.  Give  illustrations. 

9.  What  does  appropriate  utterance  require? 

10.  What  is  an  important  part  of  the  study  of  Elocution? 

11.  Who  is  the  best  instructor? 

12.  Give  some  illustrations  of  the  teachings  of  nature  on  the  quali- 

ties of  voice  ? 

13.  In  connection  with  what  other  element  must  quality  be  pre- 

sented?   Why? 

14.  How  will  the  qualities  be  presented? 

15.  Define  Pure  Tone. 

16.  Why  do  we  so  seldom  find  persons  of  adult  years  with  pure, 

clear,  sweet  tones  ? 

17.  What  is  the  special  object  of  the  exercise  in  this  lesson  ? 

18.  When  do  we  use  Pure  Tone,  Effusive  Form? 

19.  Why  does  the  selection  require  Pure  Tone? 

20.  Why  Effusive  Form? 

DIAGRAM  OF  FOURTH  LESSON. 


Review  Forms. 


Exercises 


Element— Quality . 


Definition. 

Division 

Illustration. 


Topic— Pure  Tone  Effusive. 


r  Effusive. 
<  Expulsive. 
(_  Explosive. 

f  Position. 
J  Gesture. 
]  Breathing. 
[  Phonics. 

!' Pure  Tone. 
First  Class..  <  Orotund. 
[Oral. 

f  Aspirate. 

Second  Class.  1  Pectoral. 

I  Guttural. 


Third  Class. 


f  Falsetto. 


Nasal. 


Definition. 
Illustration. 
Advantages. 
How  Acquired. 
Class  Exercises. 
Principles  of  Expression. 
_  Examples. 


66  Science  of  Elocution. 

LESSON    V. 
Exercises  in  Position. 

First  position. 

1.  Change  from  first  to  fourth  position  by  stepping 
forward  to  the  left  about  six  or  eight  inches  at  an 
angle  of  forty-five  degrees. 

2.  Change  from  fourth  to  first  by  bringing  up  the 
right  foot. 

3.  Change  from  fourth  to  third  by  stepping  forward 
to  the  left. 

4.  Change  from  third  to  first  by  bringing  up  the  left 
foot. 

Repeat  these  changes  several  times. 

Exercises  in  Breathing  and  Gesture. 

1.  Inhale  slowly  and  quietly,  and  exhale  slowly, 
while  elevating  and  lowering  the  arms. 

2.  Place  the  arms  akimbo,  and  inhale  and  exhale  very 
rapidly  several  times. 

Exercises  in  Articulation. 


a,  as 

m 

arm. 

arm, 

harm, 

qualm, 

calm, 

palm, 

psalm, 

1.  I  will  not  harm  thee,  boy. 

2.  The  night  was  calm  and  beautiful. 

3.  The  psalm  was  warrior  David's  song. 

4.  The  balmy  breath  of  incense-breathing  morn. 

5.  Father,  thy  hand  hath  reared  this  venerable  column. 


Pure  Tone,  Expulsive  Form.  57 

Having  defined  Pure  Tone  in  the  last  and  Expulsive 
Form  in  the  second  lesson,  it  will  not  be  necessary  to 
here  repeat  the  definitions. 

The  quality  Pure  Tone  is  the  same  in  all  forms. 

Exercises  for  Cultivating  Pure  Tone,  Expulsive 
Form. 

1.  e,  as  heard  in  me. 


2. 

a, 

a 

« 

arm 

3. 

a, 

a 

u 

add. 

4 

s, 

t( 

a 

end. 

5. 

o, 

a 

a 

odd. 

6. 

u, 

iC 

a 

up. 

arm, 

on, 

bet, 

let, 

back, 

down, 

live, 

again, 

<K 


1.  The  moon's  pale  light. 

2.  There  is  no  longer  any  room  for  hope. 

3.  Soon  we  shall  join  the  kindred  dead. 

EXERCISES 
Contrasting  Pure  Tone  Effusive  and  Pure  Tone  Expulsive. 

Repeat  each  of  the  above  sounds,  words,  and  sen- 
tences, with 

1.  Pure  Tone,  Effusive  Form. 

2.  Pure  Tone,  Expulsive  Form. 

Pure  Tone,  Expulsive  Form — When  Used. 

Pure  Tone,  Expulsive  Form,  is  appropriately  em- 
ployed chiefly  in  the  expression  of  narrative,  descriptive, 
didactic,  and  argumentative  thought,  in  the  form  of 
scientific  and  literary  lectures,  doctrines,  and  practical 
sermons.  ^C 

This  principle  is  illustrated  in  the  earnest,  direct 
utterances  of  children,  the  chattering  of  birds,  and  the 


58  Science  of  Elocution. 

clear  ringing  bark  of  the  house  dog  when  he  welcomes 
you  home;  all  pure  in  tone  as  well  as  Expulsive  in 
Form. 

EXAMPLE :    DIDACTIC  THOUGHT. 

Pure  Tone,  Expulsive  Form. 


A 


Hamlet's  Advice  to  the  Players. 

SHAKESPEARE. 


1.  Speak  the  speech,  I  pray  you,  as  I  pronounced  it  to  you, 
trippingly  on  the  tongue ;  but  if  you  mouth  it,  as  many  of  our 
players  do,  I  had  as  lief  the  town-crier  had  spoken  my  lines. 
And  do  not  saw  the  air  too  much  with  your  hands,  but  use  all 
gently ;  for  in  the  very  torrent,  tempest,  and,  as  I  may  say, 
whirlwind  of  your  passion,  you  must  acquire  and  beget  a  tem- 
perance that  will  give  it  smoothness. 

2.  O  it  offends  me  to  the  soul  to  hear  a  robustious,  periwig- 
pated  fellow  tear  a  passion  to  tatters,  to  very  rags,  to  split  the 
ears  of  the  groundlings,  who  (for  the  most  part)  are  capable 
of  nothing  but  inexplicable  dumb  shows  and  noise.  Pray  you 
avoid  it. 

3.  Be  not  too  tame  either, but  let  your  own  discretion  be  your 
tutor.  Suit  the  action  to  the  word,  the  word  to  the  action, 
with  this  special  observance,  that  you  overstep  not  the  modesty 
of  Nature,  for  any  thing  so  overdone  is  from  the  purpose 
of  playing,  whose  end  is  to  hold,  as  it  were,  the  mirror  up 
to  Nature,  to  show  virtue  her  own  feature,  scorn  her  own 
image,  and  the  very  age  and  body  of  the  times  their  form  and 
pressure. 

4.  Now  this  overdone,  or  come  tardy  off,  though  it  may 
make  the  unskillful  laugh,  cannot  but  make  the  judicious 
grieve,  the  censure  of  which  one  must,  in  your  allowance,  out- 
weigh a  whole  theater  of  others.  O  there  be  players  that  I 
have  seen  play,  and  heard  others  praise,  and  that  highly — not 
to  speak  it  profanely — that  neither  having  the  accent  of  Chris- 
tian nor  the  gait  of  Christian,  pagan,  nor  man,  have  so  strut- 
ted and  bellowed  that  I  have  thought  some  of  Nature's  jour- 
neymen had  made  men  and  not  made  them  well,  they  imi- 
tated humanity  so  abominably. 


K 


Pure  Tone,  Expulsive  Form.  59 


Questions. 

1.  What  is  the  prominent  object  of  the  vocal  exercises  in  this  les- 
son? 

2.  "What  is  the  difference  between  Expulsive  Form  and  Expulsive 
Form,  Pure  Tone? 

3.  "When  should  the  Pure  Tone,  Expulsive  Form,  be  used  ? 

4.  Where  in  nature  is  this  principle  taught  ? 

5.  Why  does  this  selection  require  Pure  Tone  ? 

6.  Why  Expulsive  Form  ? 

DIAGRAM  OP  FIFTH  LESSON. 

f  Position. 

1.  Exercises -I   Breathing. 

[  Phonics. 

2.  Review  Pure  Tone,  Effusive  Form. 

3.  Element— Quality. 

Definition. 

Illustration. 

Advantages. 

How  Acquired. 

Class  Exercises. 

Principles  of  Expression. 

Examples. 


4.  Topic— Pure  Tone  Expulsive. 


LESSOIST    VI. 
Exercises   in  Position. 

First  position. 

1.  Change  from  first  to  second  position  by  stepping 
forward  with  the  left  foot. 

2.  Change  from  second  to  third  by  stepping  forward 
with  the  right  foot. 

3.  From  third  to  first  by  bringing  up  the  left  foot. 

Exercises  in  Breathing. 

Inhale  quickly  and  exhale  rapidly.      Repeat  several 
times. 


60  Science  op  Elocution. 

Exercises  in  Articulation. 

6,  as  in  or. 
odd,  for, 

north,  war, 

law,  corn. 

1.  The  North  is  for  war. 

2.  My  voice  is  still  for  war. 

3.  The  law  must  be  obeyed. 

4.  The  cause  stands  not  on  eloquence,  but  stands  dn 
laws. 

5.  All  that  I  am,  all  that  I  hope  in  this  life,  I  am  now 
ready  to  stake. 

Review  briefly  Effusive  and  Expulsive  Pure  Tone. 

Exercises  for  Cultivating  Pure  Tone,  Explosive 
Form. 


1.  1,  as  heard  in 

ill. 

2.  u,    " 

a 

up. 

3.  e.    " 

a 

ell. 

4.  a,    " 

n 

add. 

5.  o,    « 

u 

odd. 

end, 

top, 

mat, 

hand, 

him. 

think. 

on, 
had, 

1.  Stand!  the  ground  is  your  own. 

2.  The  battle,  sir,  is  not  to  the  strong  alone. 

3.  This  rock  shall  fly  from  its  firm  base  as  soon  as  1. 

exercises. 

Contrasting  Pure  Tone  in  Effusive,  Expulsive,  and  Explosive  Forms. 

Repeat  each  of  the  elements,  words,  and  sentences 
with 


Pure  Tone,  Explosive  Form.  61 

1.  Pure  Tone,  Effusive  Form. 

2.  Pure  Tone,  Expulsive  Form. 

3.  Pure  Tone,  Explosive  Form. 

Pure  Tone,  Explosive  Form — When  Used. 

Pure  Tone,  in  the  Explosive  Form,  is  appropriately 
jmployed  chiefly  in  the  expression  of  ecstatic  joy  and 
mirth. 

This  principle  is  taught  in  the  joyous  songs  of  birds* 
the  babbling  brook,  the  merry  laughter  of  children. 

EXAMPLE :    ECSTATIC  JOY. 
Pure  Tone,  Explosive  Form. 

The    Bells. 

EDGAR  A.  POB. 

Hear  the  sledges  with  the  bells — 
Silver  bells — 
What  a  world  of  merriment  their  melody  foretells ! 
How  they  tinkle,  tinkle,  tinkle, 

In  the  icy  air  of  night ! 
While  the  stars  that  oversprinkle 
All  the  heavens  seem  to  twinkle 

With  a  crystalline  delight ; 
Keeping  time,  time,  time, 
In  a  sort  of  Runic  rhyme, 
To  the  tintinnabulation  that  so  musically  swells 
From  the  bells,  bells,  bells,  bells, 
Bells,  bells,  bells — 
From  the  jingling  and  the  tinkling  of  the  bells. 


Questions. 

1.  What  is  the  topic  in  this  lesson  ? 

2.  What  is  the  difference  between  Explosive  Form  and  Pure  Tone, 

Explosive  Form  ? 

3.  When  do  we  use  Pure  Ton©,  Explosive  Form  ? 


62  Science  of  Elocution. 

4.  Where  in  nature  is  this  principle  taught  ? 

5.  Why  does  this  selection  require  Pure  Tone? 

6.  Why  Explosive  Form  ? 

DIAGRAM  OF   SIXTH  LESSON. 

f  Position. 

1.  Exercises \   £est^ 

j    Breathing. 

(^  Phonics. 

2.  Review  Pure  Tone  Effusive  and  Expulsive. 

3.  Element — Quality. 


4.  Topic— Pure  Tone  Explosive. 

5.  Selection.  " Bells  "(First  Stanza). 


Definition. 

Illustration. 

Advantages. 

How  Acquired. 

Exercises. 

Principles  of  Expression. 

Examples. 


LESSOJST   VII. 

Exercises   in  Position. 
First  Position. 

1.  Change  from  first  to  fourth  by  stepping  forward 
with  left  foot. 

2.  From  fourth  to  first  by  bringing  up  right  foot. 
Repeat  several  times. 

Suggestions.  If  the  teacher  can  give  instructions  in 
gesticulation,  orally  and  by  illustration,  it  would  be  well 
at  this  lesson  to  devote  one,  two,  or  five  minutes  to 
exercises  in  gesture,  beginning  with  the  positions  and 
movement  of  the  fingers,  hanl,  and  arm.  As  stated  in 
the  preface,  it  is  not  the  purpose  of  this  work  to  give 
instruction  on  gesture,  and  if  the  teacher  cannot  in- 
struct the  class  orally,  it  will  be  better  to  omit  the  sub- 
ject entirely. 


Orotund.  63 

Exercises  in  Breathing. 

Inflate  the  lungs  fully,  raise  the  arms  perpendicularly, 
and  then  strike  down  suddenly  and  expel  the  air. 
Repeat  several  times. 

Exercises  in  Articulation. 

o,  as  in  no. 
home,  old,  bold, 

sold,  enrolled,        fold, 

1.  Thou  glorious  mirror. 

2.  They  have  enrolled  us. 

3.  Fold  her  hands  lightly. 

4.  Home,  thy  joys  are  passing  lovely. 

5.  No,  no,  gentlemen ;  gold  cannot  purchase  it. 

Orotund. 

The  Orotund  is  that  quality  of  voice  in  which  the 
breath  is  converted  into  a  full,  round,  deep,  musical 
tone,  with  resonance  in  the  upper  part  of  the  chest. 

It  is  distinguished  from  the  Pure  Tone  by  a  fullness, 
clearness,  strength,  smoothness,  and  sub-sonorous  qual- 
ity resembling  the  resonance  of  a  musical  instrument. 

"In  the  Orotund,  volume  and  purity  of  tone,  to 
the  greatest  extent  of  the  one  and  the  highest  per- 
fection of  the  other,  are  blended  in  one  vast  sphere  of 
sound." 

This  quality  is  possessed  naturally  by  very  few.  Even 
among  public  speakers  it  is  rarely  heard,  save  in  a  lim- 
ited degree.  Actors  and  orators  of  eminence  and  dis- 
tinction understand  and  appreciate  the  value  of  the 
Orotund,  and  have  spared  no  pains  to  obtain  control 
of  it.  It  is  heard  in  all  their  utterances  of  grand,  lofty, 
and  sublime  thoughts. 


0£  Science  of  Elocution. 

Though  rarely  possessed,  it  is  susceptible  of  cultiva- 
tion, and  ma}%  by  judicious  practice,  be  acquired  by 
almost  every  one. 

Advantages. 

Dr.  Rush  mentions  the  Orotund  as  the  highest 
perfection  of  the  cultivated  voice  of  the  public 
speaker. 

The  Orotund  is  fuller  in  volume  and  purer  in  quality 
than  the  common  voice ;  it  is  more  musical  in  tone  ;  it  is 
more  efficient  in  the  production  of  long  quantity;  it  is 
more  under  command;  it  is  freer  from  all  impurities; 
it  is,  in  short,  the  only  quality  appropriate  for  the  so- 
lemnity of  the  Church  service,  the  grandeur  and  energy 
of  the  oration,  and  the  majesty  and  sublimity  of  Shakes- 
peare and  Milton. 

It  must  not,  however,  be  imagined  that  the  Orotund, 
when  once  acquired,  is  to  entirely  supersede  the  com- 
mon voice.  Teachers  and  students  of  Elocution  and 
public  speakers  frequently  render  themselves  ridicu- 
lous, and  the  study  of  Elocution  contemptible,  by  parad- 
ing their  powers  of  Orotund  on  all  occasions.  Such 
exhibitions  suggest 

"Ocean  into  tempest  tossed 

To  waft  a  feather  or  to  drown  a  fly." 

Except  in  the  expression  of  grand,  lofty,  and  sublime 
thought,  the  Pure  Tone  should  form  the  basis  of  utter- 
ance. 

To  acquire  control  of  the  Orotund,  practice  the  fol- 
lowing exercise,  with  the  freest  opening  of  the  vocal 
organs,  and  the  utmost  volume  and  depth  of  tone. 

Before  repeating  the  sounds,  words,  and  sentences, 
inhale  a  large  quantity  of  air. 


Orotund  Effusive.  65 

Exercises  in  Orotund,  Effusive  Form. 

1.  a,  as  in  father,  arm. 

2.  a,      "     ask,  grass. 

3.  a,      "     all,  talk. 

4.  6,      "     old,  uote. 

loud,  deep,        broad,         profound, 

round,        holy,         moon,  sublime, 

soul,  hour,        roll,  grandeur. 

1.  Thou  glorious  mirror. 

2.  Roll  on,  thou  deep  and  dark  blue  ocean,  roll. 

3.  O  thou  that  rollest  above,  round  as  the  shield  of 

my  fathers. 

exercises 

Contrasting  Pure  Tone  Effusive  and  Orotund  Effusive. 

Repeat  the  above  sounds,  words,  and  sentences  with 

1.  Effusive  Pure  Tone, 

2.  Effusive  Orotund. 

Orotund,  Effusive  Form — When  Used. 

The  Orotund  in  the  Effusive  Form  is  the  quality  of 
voice  appropriate  for  the  expression  of  sublimity,  grand- 
eur, reverence,  adoration,  and  devotion. 

This  principle  is  clearly  taught  in  the  grand  and 
majestic  roar  of  the  lion,  the  deep  tones  of  the  distant 
thunder,  the  sublime  roar  of  Niagara  and  the  ocean — all 
Effusive  in  form  and  Orotund  in  quality. 

EXAMPLE  :    SUBLIMITY  AND  ADORATION. 

Orotund,  Effusive  Form. 

God. 

DEBZHAVIN. 

1.  O  thou  eternal  One !  whose  presence  bright 
All  space  doth  occupy,  all  motion  guide ; 
Unchanged  through  Time's  all  devastating  flight! 
Thou  only  God — there  is  no  God  beside ! 
5 


66  Science  of  Elocution. 

Being  above  all  beings !     Mighty  One. 

Whom  none  can  comprehend  and  none  explore, 
Who  fill'st  existence  with  thyself  alone, 

Embracing  all,  supporting,  ruling  o'er ; 

Being  whom  we  call  God,  and  know  no  more ! 

2.  Thou  from  primeval  nothingness  didst  call 

First  chaos,  then  existence ;  Lord,  on  thee 
Eternity  hath  its  foundation ;  all 

Sprung  forth  from  thee — of  light,  joy,  harmony. 
Sole  origin — all  life,  all  beauty  thine ; 

Thy  word  created  all,  and  doth  create ; 
Thy  splendor  fills  all  space  with  rays  divine ; 

Thou  art  and  wert  and  shalt  be !    Glorious !    Great  I 

Light-giving,  life-sustaining  Potentate ! 

3.  Thy  chains  the  unmeasured  universe  surround — 

Upheld  by  thee,  by  thee  inspired  with  breath ! 
Thou  the  beginning  with  the  end  hast  bound, 

And  beautifully  mingled  life  and  death ! 
As  sparks  mount  upward  from  the  fiery  blaze, 

So  suns  are  born,  so  worlds  spring  forth  from  thee ; 
And  as  the  spangles  in  the  sunny  rays 

Shine  round  the  silver  snow,  the  pageantry 
Of  heaven's  bright  army  glitters  in  thy  praise. 

4.  A  million  torches,  lighted  by  thy  hand, 

Wander  unwearied  through  the  blue  abyss — 
They  own  thy  power,  accomplish  thy  command, 

All  gay  with  life,  all  eloquent  with  bliss. 
What  shall  we  call  them?     Piles  of  crystal  light — 

A  glorious  company  of  golden  streams — 
Lamps  of  celestial  ether  burning  bright — 

Suns  lighting  systems  with  their  joyous  beams? 
But  thou  to  these  art  as  the  noon  to  night. 

5.  Naught !     But  the  effluence  of  thy  light  divine, 

Pervading  worlds,  hath  reached  my  bosom  too ; 
Yes,  in  my  spirit  doth  thy  spirit  shine 
As  shines  the  sunbeam  in  a  drop  of  dew. 


Orotund  Effusive.  67 

Naught !    But  I  live,  and  on  Hope's  pinions  fly 

Eager  toward  thy  presence ;  for  in  thee 
I  live  and?breathe  and  dwell ;  aspiring  high, 

Even  to  the  throne  of  thy  divinity. 

I  am,  O  God!  and  surely  thou  must  be. 

6.  Creator,  yes.     Thy  wisdom  and  thy  word 

Created  me.     Thou  source  of  life  and  good. 
Thou  spirit  of  my  spirit,  and  my  Lord, 

Thy  light,  thy  love,  in  their  bright  plenitude 
Filled  me  with  an  immortal  soul,  to  spring 

Over  the  abyss  of  death,  and  bade  it  wear 
The  garments  of  eternal  day,  and  wing 

Its  heavenly  flight  beyond  this  little  sphere, 

Even  to  its  source — to  thee — its  Author  there. 

7.  O  thoughts  ineffable !  O  visions  blest ! 

Though  worthless  our  conceptions  all  of  thee, 
Yet  shall  thy  shadowed  image  fill  our  breast, 

And  waft  its  homage  to  thy  Deity. 
God !  thus  alone  my  lowly  thoughts  can  soar, 

Thus  seek  thy  presence — Being  wise  and  good ! 
'Midst  thy  vast  works  admire,  obey,  adore ; 
And  when  the  tongue  is  eloquent  no  more 

The  soul  shall  speak  in  tears  of  gratitude. 


Questions. 

1.  What  is  the  topic  of  this  lesson? 

2.  Define  Orotund  Quality. 

3.  What  is  the  difference  between  Pure  Tone  and  Orotund? 

4.  Is  it  a  natural  or  acquired  quality  ? 

5.  What  does  Dr.  Rush  say  of  it  ? 

6.  Mention  some  of  the  advantages  of  the  Orotund. 

7.  Should  it  be  constantly  used  when  acquired? 

&  What  mistake  is  frequently  made  by  teachers  and  students  of 

Elocution  ? 
9.  How  can  it  be  acquired  ? 
10   When  should  it  be  used? 

11.  Where  in  nature  is  the  priuciple  taught? 

12.  Why  does  the  selection  require  Effusive  Form? 

13.  Why  Orotund  Quality? 


Science  of  Elocution. 


DIAGRAM  OF  SEVENTH  LESSON. 

f  Position. 
1.  Exercises I  Gesture. 


2.  Review  Sixth  Lesson. 

3.  Element — Quality. 


j  Breathing. 
[Articulation. 


4.  Topic— Orotund  Effusive h 


5.  Selection.   "God." 


'Definition. 

Illustration. 

Advantages. 

How  Acquired 

Class  Exercise. 

Principle. 
b  Example. 


LESSON  VIII. 
Exercises    in   Position. 
First  Position. 

1.  Change  from  first  to  third  position  by  stepping 
back  with  left  foot. 

2.  From  third  to  first  by  bringing  up  the  left  foot. 

3.  Change  from  first  to  fourth  by  stepping  forward 
with  the  left  foot. 

4.  From  fourth  to  first  by  bringing  up  the  right  foot. 

Exercises  in  Breathing  and  Gesture. 
Inhale  quickly,  extend  the  arms  horizontally,  dra^ 
them  back  quickly,  and  at  same  time  exhale. 
Repeat  several  times. 

Exercises  in  Articulation. 


o  as  in  ooze. 

who, 

loom, 

room, 

moon, 

ooze, 

doom. 

Orotund  Expulsive.  69 

1.  Thy  doom  is  fixed. 

2.  You  denied  me  this. 

3.  The  fool  hath  said,  No  God. 

4.  Soon  we  shall  join  the  kindred  dead. 

5.  The  blood  oozed  from  his  ghastly  wound. 

Exercises  in  Orotund  Expulsive. 
Repeat  the  following  sounds,  words,  and  sentences 
in    the    Expulsive    Form    with    the   fullest    Orotund 
Quality.     Inflate  the  lungs  fully  before  each  effort. 

1.  a,  as  heard  in  ale,  hale. 


2. 

a, 

add,  have. 

3. 

ice,  tine. 

4. 

0, 

old,  bold. 

sword, 

down, 

head, 

army, 

slave, 

never, 

ambition, 

spurn, 

amuse, 

above, 

present, 

forever 

1.  The  war  must  go  on,  we  must  fight  it  through. 

2.  It  is  my  living  sentiment,  and,  by  the  blessing  of 
God,  it  shall  be  my  dying  sentiment. 

EXERCISES 
Contrasting  Pure  Tone  Expulsive  and  Orotund  Expulsive. 
Repeat  the  above  sounds,  words,  and  sentences  with 

1.  Pure  Tone,  Expulsive  Form. 

2.  Orotund,  Expulsive  Form. 

Orotund,  Expulsive  Form — When  Used. 
The  Orotund,  in  the  Expulsive  Form,  is  the  quality 
appropriate  for  the  delivery  of  earnest,  bold,  grand, 
and  lofty  thought  in  the  form  of  argumentative  and 
oratorical  speeches  and  sermons,  and  impassioned  poetic 
thought. 


70  Science  of  Elocution. 

EXAMPLE:  IMPASSIONED  POETIC. 

Orotund,  Expulsive  Form. 

The  Rising  of  1776. 

T.    BUCHANAN   READ. 

1.  Out  of  the  North  the  wild  news  came, 
Far  flashing  on  its  wings  of  flame, 
Swift  as  the  boreal  light  which  flies 
At  midnight  through  the  startled  skies. 

2.  And  there  was  tumult  in  the  air. 

The  fife's  shrill  note,  the  drum's  loud  beat, 
And  through  the  wide  land  every- where 

The  answering  tread  of  hurrying  feet ; 
While  the  first  oath  of  Freedom's  gun 
Came  on  the  blast  from  Lexington ; 
And  Concord  roused,  no  longer  tame, 
Forgot  her  old  baptismal  name, 
Made  bare  her  patriot  arm  of  power, 
And  swelled  the  discord  of  the  hour. 

3.  Within  its  shade  of  elm  and  oak 

The  church  of  Berkley  Manor  stood; 
There  Sunday  found  the  rural  folk, 
And  some  esteemed  of  gentle  blood. 

In  vain  their  feet  with  loitering  tread 
Pass'd  'mid  the  graves  where  rank  is  naught ; 
All  could  not  read  the  lesson  taught 

In  that  republic  of  the  dead. 

4.  How  sweet  the  hour  of  Sabbath  talk, 

The  vale  with  peace  and  sunshine  full, 
Where  all  the  happy  people  walk, 

Decked  in  their  homespun  flax  and  wool  1 
Where  youth's  gay  hats  with  blossoms  bloom, 
And  every  maid,  with  simple  art, 
Wears  on  her  breast,  like  her  own  heart, 
A  bud  whose  depths  are  all  perfume ; 
While  every  garment's  gentle  stir 
Is  breathing  rose  and  lavender. 


Orotund  Expulsive.  71 

5.  The  pastor  came :  his  snowy  locks 

Hallowed  his  brow  of  thought  and  care ; 
And  calmly,  as  shepherds  lead  their  flocks, 
He  led  into  the  house  of  prayer. 

6.  The  pastor  rose ;  the  prayer  was  strong ; 
The  psalm  was  warrior  David's  song ; 
The  text,  a  few  short  words  of  might — 

"  The  Lord  of  hosts  shall  arm  the  right!  " 
He  spoke  of  wrongs  too  long  endured, 
Of  sacred  rights  to  be  secured ; 
Then  from  his  patriot  tongue  of  flame 
The  startling  words  for  Freedom  came. 
The  stirring  sentences  he  spake 
Compelled  the  heart  to  glow  or  quake, 
And,  rising  on  his  theme's  broad  wing, 

And  grasping  in  his  nervous  hand 

The  imaginary  battle-brand, 
In  face  of  death  he  dared  to  fling 
Defiance  to  a  tyrant  king. 

7.  Even  as  he  spoke,  his  frame,  renewed 
In  eloquence  of  attitude, 

Rose,  as  it  seemed,  a  shoulder  higher; 
Then  swept  his  kindling  glance  of  fire 
From  startled  pew  to  breathless  choir ; 
When  suddenly  his  mantle  wide 
His  hands  impatient  flung  aside. 
And,  lo !  he  met  their  wondering  eyes 
Complete  in  all  a  warrior's  guise. 

8.  A  moment  there  was  awful  pause, 

When  Berkley  cried,  " Cease,  traitor!  cease! 
God's  temple  is  the  house  of  peace !  " 

The  other  shouted,  "Nay,  not  so, 
When  God  is  with  our  righteous  cause ; 
His  holiest  places  then  are  ours, 
His  temples  are  our  forts  and  towers 

That  frown  upon  the  tyrant  foe ; 
In  this,  the  dawn  of  Freedom's  day, 
There  is  a  time  to  fight  and  pray !  " 


72  Science  of  Elocution. 

9.  And  now  before  the  open  door — 

The  warrior  priest  had  ordered  so— 
Th'  enlisting  trumpet's  sudden  roar 
Rang  through  the  chapel,  o'er  and  o'er, 

Its  long  reverberating  blow, 
So  loud  and  clear,  it  seemed  the  ear 
Of  dusty  Death  must  wake  and  hear. 

10.  And  there  the  startling  drum  and  fife 

Fired  the  living  with  fiercer  life ; 
While  overhead,  with  wild  increase, 
Forgetting  its  ancient  toll  of  peace, 

The  great  bell  swung  as  ne'er  before : 
It  seemed  as  it  would  never  cease ; 
And  every  word  its  ardor  flung 
From  off  its  jubilant  iron  tongue 

Was,  " War!  War!  WAR!" 

11.  "  Who  dares  " — this  was  the  patriot's  cry, 

As  striding  from  the  desk  he  came — 
"  Come  out  with  me,  in  Freedom's  name, 
For  her  to  live,  for  her  to  die  ?" 
A  hundred  hands  flung  up  reply, 
A  hundred  voices  answered  "I!" 


Questions. 

1.  What  is  the  topic  of  this  lesson  ? 

2.  What  is  the  difference  between  Orotund  Expulsive  and   Pure 

Tone  Expulsive? 

3.  When  should  the  Orotund,  Expulsive  Form,  be  used  ? 

4.  What   style  of  thought  should  be  given  with  the  Pure  Tone 

Expulsive  which  should  not  be  given  with  the  Orotund  Expul- 
sive? 

5.  Why  does  the  selectioa  require  the  Orotund  Quality  ? 

6.  Why  Expulsive  Form  ? 

7.  If  the  selection  were  given  with  the  Pure  Tone  Expulsive,  what 

elements  of  expression  would  it  lack  ? 


Orotund  Expulsive. 


73 


DIAGRAM  OF  EIGHTH  LESSON. 


1.  Exercises 

2.  Element— Quality. 

3.  Topic— Expulsive  Orotund. 


4.  Selection.   "  The  Rising  of  1716." 


(  Position. 
J  Gesture. 
1  Breathing. 
[Articulation. 


Definition. 

Illustration. 

Advantages. 

How  Acquired. 

Class  Exercises. 

Principle. 

Example. 


LESSON  IX. 
Exercises  in  Position. 

First  Position. 

1.  Change  from  first  to  second  position  by  stepping 
forward  with  the  left  foot. 

2.  From  second  to  fourth  by  stepping  forward  with 
the  left  foot. 

3.  From  fourth  to  first  by  stepping  forward  with  the 
right  foot. 

Repeat. 

Exercises  in  Breathing  and  Gesture. 

1.  Inhale  slowly  and  quietly,  extend  the  arms  hori- 
zontally and  lower  them  slowly,  and  at  the  same  time 
exhale.     Repeat  two  or  three  times. 

2.  Inhale  slowly,  extend  the  arms  horizontally, 
quickly,  and  at  the  same  time  exhale. 


74  Science  of  Elocution. 

Exercises  in  Articulation. 

i,  as  in  ill. 

will,  inch,  risk, 

fill,  ink,  till. 

1.  Ill-mannered  wretch. 

2.  I'll  risk  my  life  upon  it. 

3.  Rid  me  of  these  vagabonds. 

4.  If  I  can  catch  him  once  upon  the  hip. 

5.  Inch  by  inch  we  will  dispute  the  ground. 

Exercises  in  Orotund  Explosive. 
Repeat  the  following  elements,  words,  and  sentences  in 
the  Explosive  Form,  fullest  Orotund  Quality.   Be  careful 
to  give  each  exercise  the  sudden,  startling  explosive. 
1.  a,  as  heard  in  add,  fat. 


2.  e,           " 

end,  met. 

3.  i,            " 

ill,  fin. 

4.  6, 

odd,  not. 

5.  ti,           " 

us,  tub. 

Up,             end, 

add,            odd, 

lie,              admit, 

push,           back, 

pick,           hack, 

mock,          luck. 

1.  Tell  them  we  need  no  change. 

2.  Now  set  the  teeth  and  stretch  the  nostrils  wide. 

exercises 

Contrasting  Pure  Tone  and  Orotund  in  all  the  Forms. 
Repeat  the  above  sounds,  words,  and  sentences,  with 

1.  Effusive  Pure  Tone. 

2.  Expulsive  Orotund. 

3.  Explosive  Pure  Tone. 

4.  Effusive  Orotund. 

5.  Expulsive  Pure  Tone. 

6.  Explosive  Orotund. 


Orotund  Explosive.  75 

Orotund,  Explosive  Form — When  Used. 

The  Orotund,  in  the  Explosive  Form,  is  the  quality 
appropriate  for  the  expression  of  courage,  warning, 
alarm,  terror,  and  abrupt  exclamation. 

EXAMPLE:  AXjAKM. 
Orotund  Explosive  Form. 

The  Bells. 

Hear  the  loud  alarum  bells — 
Brazen  bells ! 
What  a  tale  of  terror,  now,  their  turbulency  tells! 
In  the  startled  ear  of  night 
How  they  scream  out  their  affright ! 
Too  much  horrified  to  speak, 
They  can  only  shriek,  shriek, 
Out  of  tune, 
In  a  clamorous  appealing  to  the  mercy  of  the  fire, 
In  a  mad  expostulation  with  the  deaf  and  frantic  fire 
Leaping  higher,  higher,  higher, 
With  a  desperate  desire, 
And  a  resolute  endeavor, 
Now — now  to  sit  or  never, 

By  the  side  of  the  pale-faced  moon. 
O  the  bells,  bells,  bells, 
What  a  tale  their  terror  tells 

Of  despair ! 
How  they  clang,  and  clash,  and  roar  I 
What  a  horror  they  outpour 

On  the  bosom  of  the  palpitating  air! 
Yet  the  ear,  it  fully  knows, 
By  the  twanging 
And  the  clanging, 
How  the  danger  ebbs  and  flows ; 
Yet  the  ear  distinctly  tells, 
In  the  jangling 
And  the  wrangling, 
How  the  danger  sinks  and  swells, 


76  Science  of  Elocution. 

By  the  sinking  or  the  swelling  in  the  anger  of  the  bells, 
Of  the  bells- 
Bells,  bells,  bells — 
In  the  clamor  and  the  clangor  of  the  bells  I 


Questions. 

1.  What  is  the  topic  of  this  lesson  ? 

2.  What  is  the  difference  between  the  Orotund  Explosive  and  Pure 

Tone  Explosive? 

3.  When  should  the  Orotund  Explosive  be  used? 

4.  Where  in  Nature  is  this  principle  taught  ?    (This  question  is  not 

answered  in  the  lesson.) 

5.  Why  does  the  selection  require  the  Orotund  ? 

6.  Why  the  Explosive  Form? 

7.  Could  the  selection  be  given  with  equal  impressiveness  in  any 

other  quality  ? 

DIAGRAM  OF  NINTH  LESSON. 

r  Position. 

»•  a—ota. |  Shmg. 

[  Articulation, 

Definition. 

Illustration. 

Advantages. 

How  Acquired. 

Class  Exercise. 

Principle. 

Example. 


2.  Clement — Quality. 

3.  Topic— Explosive  Orotund 

4.  Selection,    u  Bells"  (third  stanza). 


Oral  Quality.  77 


LESSON  X. 

Exercises  in  Position. 
First  position. 

1.  Change  from  first  to  third  position  by  stepping 
forward  with  the  right  foot. 

2.  Change  from  third  to  fourth  position  by  step- 
ping forward  with  the  left  foot. 

3.  Change  from  fourth  to  first  position  by  bringing 
up  the  right  foot. 

Repeat. 

Exercises  in  Breathing  and  Gesture. 
1.  Inhale  through   the   nostrils   quietly,  and  exhale 
quickly. 

Repeat  several  times. 

Exercises  in  Articulation. 
g,  is  in  ell. 
let,  pest,  jet, 

neck,  end,  send:. 

1.  Let  come  what  may. 

2.  Men,  men,  for  shame. 

3.  The  people  are  in  debt. 

4.  The  end  of  all  things  is  at  hand. 

5.  I  would  never  lay  down  my  arms. 

Oral. 

Tlie  Oral  is  that  quality  of  voice  in  which  the  sound  is 
sent  forth  from  the  organs  in  a  thin,  feeble  tone,  with  the 
resonance  in  the  forward  part  of  the  mouth* 


78  Science  of  Elocution. 

It  is  heard  in  the  utterance  of  persons  in  feeble 
health,  and  frequently  by  those  who  are  afflicted  with 
affectation. 

But  little  difficulty  will  be  experienced  in  producing 
this  quality  of  voice  sufficiently  perfect  for  practical 
purposes. 

A  greater  difficulty  will  be  to  avoid  its  unconscious  use. 
No  defect  is  more  common,  particularly  with  ladies, 
than  the  too  frequent  use  of  the  oral  tone. 

It  is  rarely  required  except  in  impersonation.  To 
cultivate  the  oral  quality,  practice  the  following  sounds, 
words,  and  sentences  in  a  thin,  feeble  tone  with  the  res- 
onance near  the  front  teeth.  Like  the  Pure  Tone  and 
Orotund,  it  may  be  given  in  all  the  Forms,  but  there 
are  few  selections  that  will  require  the  oral  throughout, 
and  none,  so  far  as  known,  that  will  demand  the  Oral 
Explosive. 

Exercises  in  Oral,  Effusive  Form. 
as  in  me. 
"     ale. 
"     use. 
"     no. 

sick,  feeble, 

shade,  tree, 

shroud,         fatal. 

1.  Let  me  lie  down. 

2.  Comrades,  I  am  dying  now. 

exercises 

Contrasting  Oral  Orotund  and  Pure  Tone,  Effusive  Form. 

Repeat  the  above  sounds,  words,  and  sentences  with 

1.  Effusive  Oral. 

2.  Effusive  Orotund. 

3.  Effusive  Pure  Tone. 


x.    e, 

2.  a, 

3.  u, 

4.  6, 

arm, 

weak, 

down, 

grass, 

restore, 

aloud, 

Oral,  Effusive  Form.  79 

Oral,  Effusive  Form — When  Used. 
The  Oral  in  the  Effusive  Form  is  used  in  the  ex- 
pression of  weakness,  feebleness,  and  languor,  and  chiefly 
in  the  utterances  of  children.  In  the  following  selec- 
tion the  Oral  Effusive  will  be  required  only  in  the  ut- 
terances of  the  dying  child,  all  the  other  parts  of  the  se- 
lection should  be  given  with  Pure  Tone,  Expulsive  Form. 

EXAMPLE  :  "WEAKNESS  AND  SUFFERING. 

Oral  Quality,  Effusive  Form. 

The  Death  of  Little  Jim. 

1.  The  cottage  was  a  thatched  one,  the  outside  old  and  mean, 
But  all  within  that  little  cot  was  wondrous  neat  and  clean; 
The  night  was  dark  and  stormy,  the  wind  was  howling  wild, 
As  a  patient  mother  sat  beside  the  death-bed  of  her  child : 
A  little  worn-out  creature,  his  once  bright  eyes  grown  dim : 
It  was  a  collier's  wife  and  child,  they  called  him  little  Jim. 

2.  And  O !  to  see  the  briny  tears  fast  hurrying  down  her  cheek, 
As  she  offered  up  the  prayer,  in  thought,  she  was  afraid  to 


Lest  she  might  waken  one  loved  far  better  than  her  life ; 
For  she  had  all  a  mother's  heart,  had  that  poor  collier's  wife. 
With  hands  uplifted,  see,  she  kneels  beside  the  sufferer's  bed, 
And  prays  that  God  would  spare  her  boy,  and  take  herself 
instead. 

3.  She  gets  her  answer  from  the  child ;  soft  fall  the  words  from 

him. 
"  Mother,  the  angels  do  so  smile,  and  beckon  little  Jim. 
I  have  no  pain,  dear  mother,  now ;  but  O !  I  am  so  dry. 
Just  moisten  poor  Jim's  lips  again,  and,  mother,  don't  you 

cry." 
With  gentle,  trembling  haste  she  held  the  liquid  to  his  lip ; 
He  smiled  to  thank  her  as  he  took  each  little,  tiny  sip. 

4.  "  Tell  father,  when  he  comes  from  work,  I  said  good-night 

to  him 
And,  mother,  now  I'll  go  to  sleep."    Alas!  poor  little  Jim! 


80  Science  of  Elocution. 

She  knew  that  he  was  dying;  that  the  child  she  lored  so 

dear 
Had  uttered  the  last  words  that  she  might  ever  hope  to  hear : 
The  cottage  door  is  opened,  the  collier's  step  is  heard, 
The  father  and  the  mother  meet,  yet  neither  speaks  a  word. 

5.  He  felt  that  all  was  over,  he  knew  his  child  was  dead ; 
He  took  the  candle  in  his  hand  and  walked  toward  the  bed  \ 
His  quivering  lips  gave  token  of  the  grief  he'd  fain  conceal, 
And  see,  his  wife  has  joined  him—  the  stricken  couple  kneel : 
With  hearts  bowed  down  by  sadness,  they  humbly  ask  of 

Him, 
In  heaven  once  more  to  meet  again  their  own  poor  little  Jim. 


Questions. 

1.  What  quality  of  voice  is  presented  in  this  lesson? 

2.  Define  the  Oral. 

3.  Where  is  it  chiefly  heard  ? 

4.  Where  is  it  frequently  improperly  used  ? 

5.  Are  there  many  selections  that  will  require  the  Oral  throughout? 

6.  When  should  the  Oral  Effusive  be  used  ? 

7.  Does  the  selection  require  the  Oral  Effusive  throughout? 

8.  Why  does  the  utterance  of  the  child  require  Oral  Effusive  ? 

9.  What  do  the  other  stanzas  of  the  selection  require? 

10.  Why? 


DIAGRAM  OF  TENTH  LESS 

1.  Exercises 

2,  Element — Quality. 


{Position. 
Gesture. 
Breathing. 
Articulation. 


3.  Topic— Effusive  Oral.. 


Definition. 

Illustration. 

Advantages. 

How  Acquired. 

Class  Exercises, 

Principle. 

Example. 


4.  Selection.    "  Death  of  Little  Jim. 


Oral,  Expulsive   Form.  81 


LESSON  XI. 

In  this  and  the  remaining  lessons  the  particular  ex- 
ercises in  Position  and  Breathing  will  be  omitted,  but 
it  is  not  intended  that  they  should  be  neglected  in  the 
class  drill.  Exercises,  similar  to  those  presented  in  the 
previous  lessons,  should  form  part  of  every  class  exer- 
cise. It  is  not  the  purpose  of  the  work  to  present 
every  exercise  that  should  be  given  to  pupils;  much  will 
be  left  for  the  teacher  to  supply. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 

o,  as  in  odd. 
not,  nod,  rock, 

rob,  on,  sod. 

1.  Let  the  carrion  rot. 

2.  Odd!  'tis  very  odd  indeed. 

3.  And  the  rock  shall  rear  its  head. 

4.  Unconsciously  he  executes  the  will  of  God. 

5.  Stop!  for  thy  tread  is  on  an  empire's  dust. 

Exercises  in  Oral  Expulsive. 
Repeat  the  sounds,  words,  and  exercises  in  Expulsive 
Form,  Oral  Quality. 

1.  e,  as  in  me. 

2.  a,      "      ale. 

3.  a,      "      arm. 

4.  o,      "      oak. 


ground, 

farm, 

time, 

low, 

charge, 

think, 

down, 

long, 

sink. 

82  Science  of  Elocution. 

shade, 
made, 
wound, 

1.  Let  me  lie  down. 

2.  Take  a  message   and   a  token,  to  some  distant 
friends  of  mine.  ■ 

exercises 

Contrasting  Oral  Orotund  and  Pure  Tone  in  the  Effusive  and  Expul- 
sive Forms. 
Repeat  the  above  elements,  words,  and  sentences  with 

1.  Effusive  Oral. 

2.  Expulsive  Pure  Tone. 

3.  Effusive  Orotund. 

4.  Expulsive  Oral. 

5.  Effusive  Pure  Tone. 

6.  Expulsive  Orotund. 

Oral,  Expulsive  Form — When  Used. 
The   Oral  in  the  Expulsive  Form  is  appropriately 
employed  in  the  expression  of  intense  suffering,  extreme 
weakness  and  exhaustion,  and  foppery  and  affectation. 

EXAMPLE:  EXHAUSTION. 

Oral,  Expulsive  Form. 

Wounded. 

WILLIAM  E.    MILLER. 

Let  me  lie  down 
Just  here,  in  the  shade  of  this  cannon-torn  tree, 
Here,  low  on  the  trampled  grass,  where  I  may  see 
The  surge  of  the  combat,  and  where  I  may  hear 
The  glad  cry  of  victory,  cheer  upon  cheer : 

Let  me  lie  down. 

O,  it  was  grand ! 
Like  the  tempest  we  charged,  in  the  triumph  to  share; 
The  tempest, — its  fury  and  thunder  were  there: 


Oral,  Expulsive  Form.  83 

On,  on,  o'er  intrenchments,  o'er  living  and  dead, 
With  the  foe  under  foot,  and  our  flag  overhead : 
O,  it  was  grand ! 

Weary  and  faint, 
Prone  on  the  soldier's  couch,  ah,  how  can  I  rest, 
With  this  shot-shatter'd  head  and  saber-pierced  breast? 
Comrades,  at  roll-call  when  I  shall  be  sought, 
Say  I  fought  till  I  fell,  and  fell  where  I  fought, 

Wounded  and  faint. 

O,  that  last  charge ! 
Right  through  the  dread  hell-fire  of  shrapnel  and  shell, 
Through  without  faltering, — clear  through  with  a  yell ! 
Right  in  their  midst,  in  the  turmoil  and  gloom, 
Like  heroes  we  dash'd,  at  the  mandate  of  doom ! 

O,  that  last  charge ! 

It  was  duty ! 
Some  things  are  worthless,  and  some  others  so  good 
That  nations  who  buy  them  pay  only  in  blood. 
For  Freedom  and  Country  each  man  owes  his  part ; 
And  here  I  pay  my  share,  all  warm  from  my  heart : 

It  is  duty ! 

Dying  at  last ! 
My  mother,  dear  mother !  with  meek  tearful  eye, 
Farewell !  and  God  bless  you,  for  ever  and  aye ! 
O  that  I  now  lay  on  your  pillowing  breast, 
To  breathe  my  last  sigh  on  the  bosom  first  prest ! 

Dying  at  last ! 

Great  Heaven!  this  bullet-hole  gapes  like  a  grave; 
A  curse  on  the  aim  of  the  traitorous  knave ! 
Is  there  never  a  one  of  you  knows  how  to  pray, 
Or  speak  for  a  man  as  his  life  ebbs  away? 

Pray !     Pray ! 
Our  Father!  our  Father!  why  don't  you  proceed? 
Can't  you  see  I  am  dying?     Great  God,  how  I  bleed ! 

Ebbing  away! 
Ebbing  away !     The  light  of  the  day  is  turning  to  gray. 

Our  Father  in  Heaven, — boys,  tell  me  the  rest, 

While  I  stanch  the  hot  blood  from  this  hole  in  my  breast. 


84  Science  of  Elocution. 

There's  something  about  the  forgiveness  of  sin; 

Put  that  in !  put  that  in ! — and  then 

I'll  follow  your  words  and  say  an  amen. 

Here,  Morris,  old  fellow,  get  hold  of  my  hand, 

And,  Wilson,  my  comrade, — O!  wasn't  it  grand 

When  they  came  down  the  hill  like  a  thunder-charged 

cloud, 
And  were  scattered  like  mist  by  our  brave  little  crowd? 

I  am  dying ;  bend  down,  till  I  touch  you  once  more ; 
Don't  forget  me,  old  fellow :  God  prosper  this  war ! 
Confusion  to  enemies! — keep  hold  of  my  hand, — 
And  float  our  dear  flag  o'er  a  prosperous  land ! 
Where's  Wilson, — my  comrade, — here,  stoop  down  your 

head; 
Can't  you  say  a  short  prayer  for  the  dying  and  dead  ? 


Questions. 

1.  "What  is  the  topic  of  this  lesson? 

2.  Define  the  Oral,  Expulsive  Form. 

3.  When  should  it  be  used? 

4.  Why  does  the  selection  require  Oral  Expulsive? 

5.  Does  it  require  Oral  Expulsive  throughout  ? 

6.  Why  is  the  Oral  Explosive  omitted  ? 

DIAGRAM  OF  ELEVENTH  LESSON. 

(  Position. 

Incise* Shing. 

L  Phonics. 
2.  Element— Quality. 

'Definition. 
Illustration. 
Advantages. 
How  Acquired. 
Class  Exercise. 
Principle. 
Example. 


3.  Topic— Expulsive  Oral, 


4.  Selection.   "Wounded.' 


Aspirate  Quality.  85 


LESSON  XII. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 

u,  as  in  up. 
sup,  cup,  run, 

bud,  hut,  skull. 

1.  Up,  comrades,  up! 

2.  They  sup  full  well. 

3.  The  cup  is  full  of  poison. 

4.  Your  apprehension  must  be  dull. 

5.  That  skull  had  a  tongue  in  it  once. 

Aspirate. 

The  Aspirate  is  that  quality  of  voice  in  zchich  the 
breath  is  sent  forth  from  the  organ  in  a  whisper-tone 
with  the  resonance  in  the  middle  of  the  mouth. 

Without  command  of  the  Aspirate  Quality  it  is  im- 
possible to  give  appropriate  expression  to  the  emotions 
of  fear,  awe,  horror,  dread,  amazement,  and  similar 
passions. 

The  Aspirate,  when  combined  with  Orotund,  intensi- 
fies the  utterance  of  deep  solemnitj^,  sublimity,  adora- 
tion, and  profound  reverence. 

It  is  in  this  combined  form  that  the  Aspirate  will  be 
of  the  greatest  practical  advantage  to  the  general 
student. 


$6*  Science  of  Elocution. 

Like  all  other  elements  of  utterance,  it  must  be  prac- 
ticed judiciously  or  the  effect  will  be  injurious  rather 
than  beneficial. 

Like  Pure  Tone,  Orotund,  and  Oral,  it  has  its  Effu- 
sive, Expulsive,  and  Explosive  Forms. 

To  acquire  control  of  this  quality,  practice  in  a  whis- 
pered tone  the  elements,  words,  and  sentences  in  which 
the  element  h  predominates. 

Exercise  in  Aspirate,  Effusive  Form. 
1.  e,  as  heard  in  me,  eye. 


2.  a,      " 

u 

fate,  gray. 

3.  o,      " 

a 

old,  note. 

4.  56,    " 

« 

moon,  food. 

hope, 

home, 

have, 

house, 

high, 

host, 

heaven, 

hand, 

hum, 

heart, 

thrust, 

thousand. 

1. 

Leave  me  ! 

0  leave  me  ! 

2. 

Thou  art  all  on 

earth  tome. 

EXERCISES 
Contrasting  Aspirate  and  Pure  Tone,  Effusive  Form. 
Repeat  the  above  sounds,  words,  and  sentences  with 

1.  Effusive  Aspirate. 

2.  Effusive  Pure  Tone. 

Aspirate,  Effusive  Form — When  Used. 

The  Aspirate  in  the  Effusive  Form  is  the  quality  ap- 
propriate for  the  expression  of  quietness,  secret  thought, 
suppressed  fear,  and  profound  repose. 


Aspirate,  Effusive  Form.  87 

EXAMPLE:  QUIETNESS. 

Aspirate,  Effusive  Form. 

Parting  Words. 

MBS.   HEMANS. 
"One  struggle  more,  and  I  am  free."— Byron.  ' 

Leave  me !  O,  leave  me !  Unto  all  below 

Thy  presence  binds  me  with  too  deep  a  spell ; 

Thou  mak'st  those  mortal  regions,  whence  I  go, 
Too  mighty  in  their  loveliness.     Farewell, 
That  I  may  part  in  peace ! 

Leave  me !  thy  footstep  with  its  lightest  sound, 

The  very  shadow  of  thy  waving  hair, 
Wakes  in  my  soul  a  feeling  too  profound, 

Too  strong,  for  aught  that  lives  and  dies  to  bear; 
O  bid  the  conflict  cease ! 

I  hear  thy  whisper — and  the  warm  tears  gush 
Into  mine  eyes,  the  quick  pulse  thrills  my  heart; 

Thou  bidd'st  the  peace,  the  reverential  hush, 
The  still  submission,  from  my  thoughts  depart: 
Dear  one !  this  must  not  be. 

The  past  looks  on  me  from  thy  mournful  eyes, 

The  beauty  of  our  free  and  vernal  days ; 
Our  communings  with  sea,  and  hill,  and  sky — 

O,  take  that  bright  world  from  my  spirit's  gaze ! 
Thou  art  all  earth  to  me ! 

Shut  out  the  sunshine  from  my  dying  room, 
The  jasmine's  breath,  the  murmur  of  the  bee ; 

Let  not  the  joy  of  bird-notes  pierce  the  gloom ! 
They  speak  of  love,  of  summer,  and  of  thee, 
Too  much — and  death  is  here! 

Doth  our  own  spring  make  happy  music  now, 
From  the  old  beech  roots  flashing  into  day? 

Are  the  pure  lilies  imaged  in  its  flow? 
Alas !  vain  thoughts !  that  fondly  thus  can  stray 
From  the  dread  hour  so  near! 


Science  of  Elocution. 

If  I  could  but  draw  courage  from  the  light 
Of  thy  clear  eye,  that  ever  shone  to  bless! — 

Not  now !  'twill  not  be  now ! — my  aching  sight 
Drinks  from  that  fount  a  flood  of  tenderness, 
Bearing  all  strength  away ! 

Leave  me!— thou  com'st  between  my  heart  and  Heaven  $ 
I  would  be  still,  in  voiceless  prayer  to  die ! — 

Why  must  our  souls  thus  love,  and  then  be  riven. 
Return !  thy  parting  wakes  mine  agony ! 
O  yet  a  while  delay ! 


Questions. 

1.  What  Quality  is  presented  in  this  lesson  ? 

2.  Define  the  Aspirate  Quality. 

3.  To  which  class  does  it  belong  ? 

4.  What  styles  of  thought  and  feeling  can  be  expressed  only  with 

the  Aspirate  Quality  ? 

5.  What  is  the  effect  of  the  Aspirate  when  blended  with  the  Oro- 

tund? 

6.  In  what  Forms  may  it  be  given  ? 

7.  When  is  the  Aspirate,  Effusive  Form,  appropriately  employed? 

8.  Why  does  the  selection  require  Aspirate  Effusive. 


DIAGRAM  OF  TWELFTH  LESSON. 


1.  Exercises 

2.  Element — Quality. 

3.  Topic— Effusive  Aspirate. 


Position. 
Gesture. 
Breathing. 
Articulation. 


Definition. 

Illustration. 

Advantages. 

How  Acquired. 

Class  Exercises, 

Principle. 

Example. 


4.  Selection.     "  Parting  Words." 


Aspirate  Expulsive.  39 


LESSOTNT  XIII. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 

a,  as  in  add. 
bad,  battle,  sad, 

back,  scaffold,  satisfy. 

1.  That  will  be  justice. 

2.  What  will  satisfy  you  ? 

3.  Add  to  your  faith,  virtue. 

4.  The  scaffold  has  no  terrors  for  me. 

5.  Back  to  thy  punishment,  false  fugitive  ! 

Aspirate  Expulsive. 

The  quality  is  the  same  as  in  the  last  lesson,  but  the 
form  is  changed  to  Expulsive. 

Exercise  in  Aspirate  Expulsive. 


1.  e,  i 

is  in  me. 

2.6, 

"      hope. 

3.  e, 

"      let. 

4.  u, 

"      up. 

home, 

steps, 

enemy, 

scouts, 

slumber, 

swept, 

noiseless, 

advance, 

resist, 

guard, 

death, 

instant. 

1.  Tread  softly,  bow  the  head ! 

2.  Soldier,  advance  quietly,  but  quickly. 


90  Science  of  Elocution, 

exercises 

Contrasting  Pure  Tone  and  Aspirate,  Effusive  and  Expulsive  Forms. 
Repeat  the  foregoing  sounds,  words,  and  sentences 
with 

1.  Effusive  Pure  Tone. 

2.  Expulsive  Aspirate. 

3.  Effusive  Aspirate. 

4.  Expulsive  Pure  Tone. 

Aspirate,  Expulsive  Form — When  Used. 

The  Aspirate  in  the  Expulsive  Form  is  the  quality- 
appropriate  for  the  expression  of  suppressed  command, 
sudden  fear,  alarm,  and  terror.  Combined  with  the 
Orotund,  it  gives  intensity  to  awe,  horror,  and  dread. 

EXAMPLE :  STJPPBESSED  COMMAND. 

Aspirate,  Expulsive  Form. 

Military  Command. 

Anon. 

Soldiers,  you  are  now  within  a  few  steps  of  the  enemy's 
outposts!  Our  scouts  report  them  as  slumbering  in  parties 
around  their  watchfires,  and  utterly  unprepared  for  our  ap- 
proach. A  swift  and  noiseless  advance  around  that  projecting 
rock,  and  we  are  upon  them  —we  capture  them  without  the 
possibility  of  resistance.  One  disorderly  noise  or  motion  may 
leave  us  at  the  mercy  of  their  advanced  guard.  Let  every 
man  keep  the  strictest  silence  under  the  pain  of  instant  death. 


Questions. 

1 .  Define  the  Aspirate  Expulsive. 

2.  When  is  it  used  ? 

3.  Give  an  example  from  nature. 

4.  Why  does  the  selection  require  Aspirate  Expulsive  ? 

5.  With  what  qualities  may  the  Aspirate  be  combined  ? 

6.  What  is  the  effect  of  the  combination  ? 


Aspirate  Expulsive. 


91 


DIAGRAM  OF  LESSON  XIII. 


1.  Exercises 

2.  Review — Lesson  XII. 

3.  Element— Quality. 

4.  Topic — Expulsive  Aspirate. 


5.  Selection.    "  Military  Command." 


Position. 
Gesture. 
Breathing. 
Phonics. 


Definition. 

Illustration. 

Advantages. 

How  Acquired. 

Priuciple. 

Example. 


LESSON  XIV. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exeecises  in  Articulation. 
a,  as  in  ask. 
fast,  task,  grant, 

grass,  past,  branch. 

1.  The  task  is  done. 

2.  Ask,  and  you  shall  receive. 

3.  Pass  the  shadow  but  a  hair. 

4.  Grant  me  but  an  hour  of  life. 

5.  The  grass  grows  green  above  her  grave. 

Aspirate  Explosive. 
To  cultivate  the  Aspirate   in   the  Explosive   Form, 
practice  the  following  sounds,  words,  and  sentences  in 
the  Explosive  Form  and  Aspirate  Quality. 


92  Science  of  Elocution. 


1.  u, 

as  in  up. 

2.  i, 

"      it. 

3.  a, 

"      add. 

4.  o, 

"      on. 

hark, 

hence, 

out, 

stop, 

avaunt, 

bride, 

haunt, 

horrible, 

halt, 

head, 

dead, 

gust. 

1.  This  is  a  sorry  sight. 

2.  Who  lies  in  the  second  chamber  ? 


exercises 

Contrasting  Pure  Tone  and  Aspirate  in  the  Effusive,  Expulsive,  and 
Explosive  Forms. 

Repeat  the  above  sounds,  words,  and  sentences  with 

1.  Effusive  Pure  Tone. 

2.  Effusive  Aspirate. 

3.  Expulsive  Pure  Tone. 

4.  Expulsive  Aspirate. 

5.  Explosive  Pure  Tone. 

6.  Explosive  Aspirate. 

Aspirate,  Explosive  Form — When  Used. 

The  Aspirate  in  the  Explosive  Form  is  the  quality 
of  voice  appropriate  for  the  expression  of  intense  fern; 
horror,  awe,  and  dread.  Mingled  with  the  Orotund, 
it  intensifies  the  expressions  excited  by  sudden  terror 
and  alarm. 

There  are  few  selections  that  will  require  the  As- 
pirate Explosive  throughout.  It  will  be  most  frequent- 
ly required  in  the  utterance  of  two  or  three  words,  or 
a  short  sentence,  as  in  the  words  "  hush"  "  hark" 
"  avaunt"  etc. 


Aspirate,  Explosive  Form.  93 

In  the  following  scene  the  parts  in  italics  should  be 
given  with  the  Explosive  Aspirate,  the  other  parts 
with  Expulsive  Aspirate  and  Pure  Tone  or  Orotund 
combined. 

EXAMPLE  :  HOBKOR  AND  DREAD. 

Aspirate  Explosive. 

Macbeth.    Scene  ii.    Act  ii. 
Enter  Lady  Macbeth. 

Lady  M.   That  which  hath  made  them  drunk  hath  made  me 
bold; 
What  hath  quench1  d  them  hath  given  me  fire.    Hark!    Peace! 
It  was  the  owl  that  shriek'd,  the  fatal  bellman, 
Which  gives  the  stern'st  good-night.     He  is  about  it : 
The  doors  are  open ;  and  the  surfeited  grooms 
Do  mock  their  charge  with  snores:   I   have   drugg'd  their 

possets, 
That  death  and  nature  do  contend  about  them, 
Whether  they  live  or  die. 

Mad.    [  Within,]  Who's  there  ?  what,  ho  ! 

Lady  M.  Alack,  lam  afraid  they  have  awaked, 
And  His  not  done.     The  attempt  and  not  the  deed 
Confounds  us.     Hark!    I  laid  their  daggers  ready; 
He  could   not  miss   'em.     Had  he  not  resembled 
My  father  as  he  slept,  I  had  done't. 

Enter  Macbeth. 

My  husband ! 

Macb.    I  have  done  the  deed.     Didst  thou  not  hear  a  noise  f 

Lady  M.    I  heard  the  owl  scream  and  the  crickets  cry. 
Did  not  you  speak  ? 

Macb.  When  ? 

Lady  M.  Now. 

Macb.  As  I  descended  ? 

Lady  M.  Ay. 

Macb.  Hark! 
Who  lies  i1  the  second  chamber  f 

Lady  M.  Donalbain. 


94:  Science  of  Elocution. 

Macb.  This  is  a  sorry  sight.  [Looking  on  his  hands. 

Lady  M.  A  foolish  thought,  to  say  a  sorry  sight. 

Macb.   There's   one   did    laugh  in's   sleep,    and  one  cried 
"Murder!" 
That  they  did  wake  each  other :  I  stood  and  heard  them : 
But  they  did  say  their  prayers,  and  address' d  them 
Again  to  sleep. 

Lady  M.        There  are  two  lodged  together. 

Macb.  One  cried  "God  bless  us!"  and  "Amen"  the  other; 
As  they  had  seen  me  with  these  hangman's  hands. 
Listening  their  fear,  I  could  not  say  "Amen," 
When  they  did  say  "  God  bless  us!  " 

Lady  M.  Consider  it  not  so  deeply. 

Macb.     But  wherefore  could  not  I  pronounce  "Amen  ? " 
I  had  most  need  of  blessing,  and  "  Amen  " 
Stuck  in  my  throat. 

Lady  M.  These  deeds  must  not  be  thought 

After  these  ways :  so,  it  will  make  us  mad. 

Macb.  Methought  I  heard  a  voice  cry  "  Sleep  no  more  ! 
Macbeth  does  murder  sleep,"  the  innocent  sleep, 
Sleep  that  knits  up  the  raveled  sleave  of  care, 
The  death  of  each  day's  life,  sore  labor's  bath, 
Balm  of  hurt  minds,  great  nature's  second  course, 
Chief  nourisher  in  life's  feast, — 

Lady  M.  What  do  you  mean  ? 

Macb.  Still  it  cried  "  Sleep  no  more  !  !  "  to  all  the  house ; 
uGlamis  hath  murdered  sleep,  and  therefore  Cawdor 
Shall  sleep  no  more;  Macbeth  shall  sleep  no  more.'1'' 

Lady  M.  Who  was  it  that  thus  cried?    Why,  worthy  thane, 
You  do  unbend  your  noble  strength,  to  think 
So  brainsickly  of  things.     Go  get  some  water, 
And  wash  this  filthy  witness  from  your  hand. 
Why  did  you  bring  these  daggers  from  the  place? 
They  must  lie  there :  go,  carry  them ;  and  smear 
The  sleepy  grooms  with  blood. 

Macb.  I'll  go  no  more: 

I  am  afraid  to  think  what  I  have  done; 
Look  on't  again  I  dare  not. 

Lady  M.  Infirm  of  purpose! 

Give  me  the  daggers :  the  sleeping  and  the  dead 


Aspibate,  Explosive  Form.  95 

Are  but  as  pictures  :  His  the  eye  of  childhood 
That  fears  a  painted  devil.     If  he  do  bleed, 
I'll  gild  the  faces  of  the  grooms  withal ; 
For  it  must  seem  their  guilt.  [Exit. 

Macb.  Whence  is  that  knoching  ? 

How  is't  with  me,  when  every  noise  appalls  me? 
What  hands  are  here  ?  ha !  they  pluck  out  mine  eyes. 
Will  all  great  Neptune's  ocean  wash  this  blood 
Clean  from  my  hand  ?    No,  this  my  hand  will  rather 
The  multitudinous  seas  incarnadine, 
Making  the  green  one  red. 

He-enter  Lady  Macbeth. 

Lady  M.  My  hands  are  of  your  color ;  but  I  shame 
To  wear  a  heart  so  white.     I  hear  a  knocking 
At  the  south  entry :  retire  we  to  our  chamber ; 
A  little  water  clears  us  of  this  deed : 
How  easy  is  it,  then !     Your  constancy 
Hath  left  you  unattended.     Hark !  more  knocking. 
Get  on  your  nightgown,  lest  occasion  call  us, 
And  show  us  to  be  watchers.     Be  not  lost 
So  poorly  in  your  thoughts. 

Macb.  To  know  my  deed,  'twere  best  not  know  myself. 
Wake  Duncan  with  thy  knocking  !    I  would  thou  couldst ! 

[Exeunt. 


Questions. 

1.  What  is  the  element  in  this  lesson? 

2.  What  is  the  topic? 

3.  What  is  the  principle  ? 

4.  In  the  utterance  of  what  styles  of  thought  and  feeling  will  the 

Explosive  Aspirate  be  chiefly  employed  ? 

5.  Why  does  the  scene  require  Explosive  Aspirate  and  Aspirate 

and  Pure  Tone  or  Orotund  combined  ? 

6.  To  which  class  does  the  Aspirate  belong  ? 

7.  What  is  the  difference  between  the  Aspirate  and  Pure  Tone  ? 


96 


Science  of  Elocution. 


DIAGRAM  OF  FOURTEENTH  LESSON. 


1.  Exercises 

2.  Element — Quality. 

3.  Topic— Aspirate  Explosive. 


4.  Selection.    "  Scene  from  Macbeth.' 


TPosition. 
J  Gesture. 
]  Breathing. 
[  Articulation. 

Definition. 
Illustration. 
Advantage. 
<   How  Acquired. 
Class  Exercise. 
Principle. 
fc  Example. 


LESSON  XV. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 

u,  as  in  full. 

pull,  put,  puss, 

bullet,  bullion,  fuller. 

1.  Pull,  pull  for  your  lives. 

2.  The  fuller  fulls  his  cloth. 

3.  The  bullet  passed  near  his  face. 

4.  Full  many  a  gem  of  purest  ray  serene. 

5.  Put  none  but  Americans  on  guard  to-night. 

Pectoral  Quality. 

The  Pectoral  is  that  quality  of  voice  in  which  the 
breath  is  sent  forth  in  a  harsh,  husky  sound,  with  the 
resonance  in  the  upper  part  of  the  throat. 

This  quality  of  voice  is  frequently  illustrated  by  per- 
sons whose  organs  have  been  injured  by  strong  drink. 


Pectoral,  Effusive  Form.  97 

To  acquire  control  of  the  Pectoral  Quality,  practice 
the  following  elements,  words,  and  sentences  in  the  Effu- 
sive Form,  with  the  organs  rigid  and  contracted  so  as 
to  obstruct  the  passage  of  the  air,  and  thus  produce  2 
harsh,  hard  tone. 

Exercises  in  Pectoral,  Effusive  Form. 

1.  a,  as  heard  in  ale,  pale. 

2.  e,      "         "      me,  see. 

3.  I,       "         "      ice,  rice. 

4.  6,      "         "      old,  bold. 

5.  ti,      "         "      use,  muse. 

hate,         despise,         flight,        fawning, 
honor,       grudge,         flaws,         sight, 
blood,       peers,  glare,         hence. 

1.  The  year  has  gone. 

2.  'Tis  a  time  for  memory  and  for  tears. 

3.  I  had  a  dream  which  was  not  all  a  dream. 

4.  Now  o'er  the  one  half  world  nature  seems  dead. 

EXERCISES 
Contrasting  Effusive  Pure  Tone  and  Aspirate,  Orotund,  and  Pectoral. 
Repeat  the  above  sounds,  words,  and  sentences  with 

1.  Effusive  Pure  Tone. 

2.  Effusive  Aspirate. 

3.  Effusive  Orotund. 

4.  Effusive  Pectoral. 

Pectoral,  Effusive  Form — When  Used. 
The  Pectoral  in  the  Effusive  Form  is  the  quality 
appropriate  for  the  expression  of  deepest  solemnity  and 
awe,   suppressed  horror,    dread,   despair,  and   similar 
passions,  in  their  mildest  form. 
1 


98  Science  of  Elocution. 


EXAMPLE;  DEEP  SOLEMNITY,  SUBLIMITY,  AND  AWE. 
Pectoral,  Effusive  Form. 

Darkness. 

BYRON. 

I  had  a  dream  which  was  not  all  a  dream : 
The  bright  sun  was  extinguish'd,  and  the  stars 
Did  wander,  darkling,  in  the  eternal  space, 
Ray  less  and  pathless ;  and  the  icy  earth 
Swung  blind  and  black'ning  in  the  moonless  air. 
Morn  came  and  went — and  came,  and  brought  no  day ; 
And  men  forgot  their  passions  in  the  dread 
Of  this  their  desolation;  and  all  hearts 
Were  chill'd  into  a  selfish  prayer  for  light. 
And  they  did  live  by  watch-fires;  and  the  thrones, 
The  palaces  of  crowned  kings,  the  huts, 
The  habitations  of  all  things  which  dwell, 
Were  burned  for  beacons;  cities  were  consumed, 
And  men  were  gather'd  round  their  blazing  homes 
To  look  once  more  into  each  other's  face. 
Happy  were  those  who  dwelt  within  the  eye 
Of  the  volcanoes  and  their  mountain  torch. 
A  fearful  hope  was  all  the  world  contained. 
Forests  were  set  on  fire ;  but  hour  by  hour 
They  fell  and  faded,  and  the  crackling  trunks 
Extinguished  with  a  crash,  and  all  was  black. 
The  brows  of  men,  by  the  despairing  light, 
Wore  an  unearthly  aspect,  as  by  fits 
The  flashes  fell  upon  them.     Some  lay  down, 
And  hid  their  eyes  and  wept ;  and  some  did  rest 
Their  chins  upon  their  clenched  hands,  and  smiled; 
And  others  hurried  to  and  fro,  and  fed 
Their  funeral  piles  with  fuel,  and  look'd  up 
With  mad  disquietude  on  the  dull  sky, 
The  pall  of  a  past  world;  and  then,  again, 
With  curses  cast  them  down  upon  the  dust, 
And  gnash'd  their  teeth,  and  howl'd.      The  wild  birds 
shriek'd, 


Pectokal,  Effusive  Fobm.  \ 

And  terrified  did  flutter  on  the  ground, 

And  flap  their  useless  wings ;  the  wildest  brutes 

Came  tame  and  tremulous;  and  vipers  crawled 

And  twined  themselves  among  the  multitude, 

Hissing,  but  stingless — they  were  slain  for  food. 

And  War,  which  for  a  moment  was  no  more, 

Did  glut  himself  again ;  a  meal  was  bought 

With  blood ;  and  each  sat  sullenly  apart, 

Gorging  himself  in  gloom ;  no  love  was  left ; 

All  earth  was  but  one  thought,  and  that  was  death — 

Immediate  and  inglorious ;  and  men 

Died,  and  their  bones  were  tombless  as  their  flesh : 

The  meagre  by  the  meagre  were  devoured. 

Even  dogs  assailed  their  masters ;  all  save  one — 

And  he  was  faithful  to  a  corse,  and  kept 

The  birds,  and  beasts,  and  famished  men  at  bay 

Till  hunger  clung  them,  or  the  drooping  dead 

Lured  their  lank  jaws ;  himself  sought  out  no  food, 

But  with  a  piteous  and  perpetual  moan, 

And  a  quick  desolate  cry,  licking  the  hand 

Which  answered  not  with  a  caress,  he  died. 

The  crowd  was  famish'd  by  degrees ;  but  two 

Of  an  enormous  city  did  survive, 

And  they  were  enemies.    They  met  beside 

The  dying  embers  of  an  altar-place, 

Where  had  been  heaped  a  mass  of  holy  things 

For  an  unholy  usage ;  they  raked  up, 

And,  shivering,  scraped  with  their  cold  skeleton  hands 

The  feeble  ashes,  and  their  feeble  breath 

Blew  for  a  little  life,  and  made  a  flame 

Which  was  a  mockery ;  then  they  lifted 

Their  eyes  as  it  grew  lighter,  and  beheld 

Each  other's  aspect — saw,  and  shriek'd,  and  died. 

Even  of  their  mutual  hideousness  they  died, 

Unknowing  who  he  was  upon  whose  brow 

Famine  had  written  fiend.     The  world  was  void ; 

The  populous  and  the  powerful  was  a  lump — 

Seasonless,  herbless,  treeless,  manless,  lifeless — 

A  lump  of  death,  a  chaos  of  hard  clay. 

The  rivers,  lakes,  and  ocean  all  stood  still, 


100  Science  of  Elocution. 

And  nothing  stirred  within  their  silent  depths. 

Ships  sailorless  lay  rotting  on  the  sea, 

And  their  masts  fell  down  piecemeal ;  as  they  dropp'd 

They  slept  on  the  abyss  without  a  surge. 

The  waves  were  dead ;  the  tides  were  in  their  grave ; 

The  moon,  their  mistress,  had  expired  before; 

The  winds  were  withered  in  the  stagnant  air, 

And  the  clouds  perished.     Darkness  hath  no  need 

Of  aid  from  them.     She  was  the  universe. 


Questions. 

1.  What  quality  is  presented  in  this  lesson? 

2.  Define  it. 

3.  To  which  class  of  qualities  does  it  belong? 

4.  What  is  the  topic  of  this  lesson  ? 

5.  What  the  principle  ? 

6.  Mention  some  example  in  nature  illustrating  this  principle. 
1.  Why  does  the  selection  require  Pectoral  Quality? 

8.  Why  does  it  require  Effusive  Form  ? 

DIAGRAM  OP  FIFTEENTH  LESSON. 

f  Position. 
_         .  I  Gesture. 

1.  Exercises <  Breathing. 

I  Articulation. 

2.  Element — Quality. 

'  Definition. 
Illustration. 
Advantages. 

3.  Topic— Pectoral  Effusive -{  How  Acquired. 

Class  Exercise. 
Principle. 
( Example. 

4.  Selection.    "Darkness." 


Pectoral,  Expulsive  Form.  101 


LESSON    XVI. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 

I,  as  in  ice. 

lie,  fight,  bide, 

try,  kite,  vise. 

1.  A  mile  or  two  at  most. 

2.  Let  him  bide  his  time. 

3.  His  form  is  held  as  in  a  vise. 

4.  And  give  thee  in  thy  teeth  the  lie. 

5.  My  name,  my  fame,  must  be  unsullied. 

Pectoral  Expulsive. 

To  cultivate  the  Pectoral  in  the  Expulsive  Form,  prac- 
tice the  elements,  words,  and  sentences  in  the  gruff,  harsh 
tone  as  in  the  preceding  lesson,  but  in  the  Expulsive  Form. 

Exercises  in  Pectoral,  Expulsive  Form. 

1.  e,  as  in  let. 

2.  1,  "      ill. 

3.  u,  "      up. 

4.  o,  "      on. 

money,         bargains,  interest,  nation, 

miserable,    impression,       terrible,  fiends, 

dismal,         tempest,  hideous,  faithful. 

1.  Cursed  be  my  tribe  if  I  forgive  him. 

2.  How  like  a  fawning  publican  he  looks ! 

3.  Hence  from  my  sight !    I  hate  and  I  despise  thee ! 


102  Science  of  Elocution, 

exercises 

Contrasting  Pure  Tone,  Aspirate,  Orotund,  and  Pectoral  in  Effusive  and 
Expulsive  Forms. 

Repeat  the  elements,  words,  and  sentences  with 

1.  Effusive  Pure  Tone. 

2.  Expulsive  Aspirate. 

3.  Effusive  Orotund. 

4.  Expulsive  Pectoral. 

5.  Expulsive  Pure  Tone. 

6.  Effusive  Aspirate. 
1.  Expulsive  Orotund. 
8.  Effusive  Pectoral. 

Pectoral  Expulsive — When  Used. 

The  Pectoral  in  the  Expulsive  Form  is  the  quality- 
appropriate  for  the  expression  of  the  more  violent 
forms  of  hate,  malice,  scorn,  revenge,  etc. 

It  will  be  observed  that  while  the  same  passions  are 
expressed  by  different  qualities,  and  sometimes  by  the 
same  quality  in  different  forms,  yet  they  are  always  in 
different  degrees.  It  is  the  quality  of  voice  that  indi- 
cates the  emotion  or  passion,  the  form  that  shows  its 
intensity.  Effusive  Pectoral  and  Expulsive  Pectoral 
may  both  express  dread  and  horror,  but  not  in  the 
same  degrees. 

EXAMPLE :   TERROR  AND  HORROR. 

Pectoral,  Expulsive  Form. 

Clarence's  Dream. 

^SHAKESPEARE. 

1.  O,  I  have  passed  a  miserable  night! 
So  full  of  fearful  dreams,  of  ugly  sights, 
That,  as  I  am  a  Christian,  faithful  man, 
I  would  not  spend  another  such  a  night, ' 


Pectoral,  Expulsive  Form.  103 

Though  'twere  to  buy  a  world  of  happy  days ; 

So  full  of  dismal  terror  was  the  time ! 

Methought,  that  I  had  broken  from  the  Tower, 

And  was  embarked  to  cross  to  Burgundy, 

And  in  my  company,  my  brother  Gloster : 

Who  from  my  cabin  tempted  me  to  walk 

Upon  the  hatches,  thence  we  looked  toward  England, 

And  cited  up  a  thousand  heavy  times, 

During  the  wars  of  York  and  Lancaster, 

That  had  befallen  us. 

S.  As  we  paced  along 

Upon  the  giddy  footing  of  the  hatches, 
Methought,  that  Gloster  stumbled;  and,  in  falling, 
Struck  me,  that  thought  to  stay  him,  overboard, 
Into  the  tumbling  billows  of  the  main. 

0  Lord!  methought,  what  pain  it  was  to  drown  I 
What  dreadful  noise  of  water  in  mine  ears ! 
What  sights  of  ugly  death  within  mine  eyes ! 

3.  Methought,  I  saw  a  thousand  fearful  wrecks ; 
A  thousand  men,  that  fishes  gnawed  upon; 
Wedges  of  gold,  great  anchors,  heaps  of  pearl, 
Inestimable  stones,  unvalued  jewels, 

All  scattered  in  the  bottom  of  the  sea : 

Some  lay  in  dead  men's  skulls ;  and  in  those  holes 

Where  eyes  did  once  inhabit,  there  were  crept 

(As  'twere  in  scorn  of  eyes)  reflecting  gems, 

That  wooed  the  slimy  bottom  of  the  deep, 

And  mocked  the  dead  bones  that  lay  scattered  by. 

4.  My  dream  was  lengthened  after  life ; 
O,  then  began  the  tempest  to  my  soul ! 

1  passed,  methought,  the  melancholy  flood, 
With  that  grim  ferryman  which  poets  write  of, 
Unto  the  kingdom  of  perpetual  night. 

The  first  that  there  did  greet  my  stranger-soul, 
Was  my  great  father-in-law,  renowned  Warwick ; 
Who  cried  aloud,  What  scourge  for  'perjury 
Can  this  dark  monarchy  afford  false  Clarence  ? 


104  Science  of  Elocution. 

5.  And  so  he  vanished :  Then  came  wand'ring  by 
A  shadow  like  an  angel,  with  bright  hair 
Dabbled  in  blood;  and  he  shrieked  out  aloud, — 
Clarence  is  come,— false,  fleeting,  perjured  Clarence, 
That  stabbed  me  in  the  field  of  Tewksbury; 
Seize  on  him,  furies,  take  him  to  your  torments  ! 
With  that,  methought,  a  legion  of  foul  fiends 
Environed  me,  and  howled  in  mine  ears 
Such  hideous  cries,  that,  with  the  very  noise, 
I  trembling  waked,  and,  for  a  season  after, 
Could  not  believe  but  that  I  was  in  hell ; 
Such  terrible  impression  made  my  dream! 


Questions. 

1.  What  is  the  topic  of  this  lesson? 

2.  "What  the  principle? 

3.  Where  in  nature  is  this  principle  illustrated? 

4.  Why  are  the  same  passions  expressed  by  different  qualities? 

5.  Why  does  the  selection  require  Expulsive  Form  ? 

6.  Why  Pectoral  Quality  ? 

In  this  and  the  remaining  lessons  on  Quality  the 
diagrams  will  be  omitted.  Pupils  should  be  required 
to  make  them. 


LESSON    XVII. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 
oi,  or  oy,  as  in  oil. 
boil,  foil,  toil, 

boy,  noise,  rejoice. 


Pectoral,  Explosive  Form.  105 

1.  My  voice  is  still  for  war. 

2.  What  noise  is  that  I  hear? 

3.  Rejoice,  ye  men  of  Angiers. 

4.  Let  not  the  sacred  soil  be  polluted. 

5.  The  boisterous  waves  lashed  the  shore. 

Pectoral  Explosive. 

Practice  the  elements,  words,  and  sentences  in  the  Ex 
plosive  Form  with  a  harsh,  hard,  gruff  tone. 

Exercises  in  Pectoral,  Explosive  Form. 
1.  S,  as  in  met. 


2.  i, 

"      ill. 

3.  u, 

"      up. 

4.6, 

"      odd. 

hate, 

rang, 

board, 

banner, 

tread, 

tocsin, 

armor, 

portal, 

carved, 

vassal, 

master, 

postal. 

1. 

Be  then  his  love  accursed ! 

2. 

I  scorn  your  proffered  treaty ! 

3. 

Blaze  with 

your  serried  columns ! 

EXERCISES 

Contrasting  Pure  Tone,  Aspirate,  Orotund,  and  Pectoral  in  Expulsive  and 
Explosive  Forms. 

Repeat  the  above  elements,  words,  and  sentences  with 

1.  Expulsive  Pure  Tone. 

2.  Explosive  Aspirate. 

3.  Expulsive  Orotund. 

4.  Explosive  Pectoral. 

Pectoral,  Explosive  Form. 

The  Pectoral  in  the  Explosive  Form  is  the  quality 
for  the  expression  of  anger,  rage,  threatening,  defiance, 
scorn,  and  contempt. 


106  Science  of  Elocution. 

example:  ang-eb,  threatening,  defiance,  scobn. 

Pectoral  Explosive  and  Expulsive. 

Catiline's  Defiance. 

CROLY. 

t.  Conscript  Fathers ! 

I  do  not  rise  to  waste  the  night  in  words ; 
Let  that  plebeian  talk ;  'tis  not  my  trade ; 
But  here  I  stand  for  right — let  him  show  proofs — 
For  Roman  right ;  though  none,  it  seems,  dare  stand 
To  take  their  share  with  me.     Ay,  cluster  there ! 
Cling  to  your  master,  judges,  Romans,  slaves ! 
His  charge  is  false ; — I  dare  him  to  his  proof. 
You  have  my  answer.     Let  my  actions  speak ! 

2.  But  this  I  will  avow,  that  I  have  scorned, 
And  still  do  scorn,  to  hide  my  sense  of  wrong ! 
Who  brands  me  on  the  forehead,  breaks  my  sword, 
Or  lays  the  bloody  scourge  upon  my  back, 
Wrongs  me  not  half  so  much  as  he  who  shuts 
The  gates  of  honor  on  me — turning  out 

The  Roman  from  his  birthright;  and,  for  what? 
To  fling  your  offices  to  every  slave ! 
Vipers,  that  creep  where  man  disdains  to  climb. 
And,  having  wound  their  loathsome  track  to  the  top 
Of  this  huge,  moldering  monument  of  Rome, 
Hang  hissing  at  the  nobler  man  below ! 
Come,  consecrated  lictors,  from  your  thrones ; 
Fling  down  your  scepters ;  take  the  rod  and  ax 
And  make  the  murder  as  you  make  the  law ! 

3.  Banished  from  Rome !     What's  banished,  but  set  free 
From  daily  contact  with  the  things  I  loathe  ? 
"Tried  and  convicted  traitor!"     Who  says  this  ? 
Who'll  prove  it,  at  his  peril,  on  my  head  ? 

4.  Banished!  I  thank  you  for't.     It  breaks  my  chain! 
I  held  some  slack  allegiance  till  this  hour; 

But  now  my  sword's  my  own.     Smile  on,  my  lords ! 
I  scorn  to  count  what  feelings,  withered  hopes, 


Pectoral,  Explosive  Form.  107 

Strong  provocations,  bitter,  burning  wrongs, 
I  have  within  my  heart's  hot  cells  shut  up, 
To  leave  you  in  your  lazy  dignities. 
But  here  I  stand  and  scoff  you !  here,  I  fling 
Hatred  and  full  defiance  in  your  face ! 
Your  consul's  merciful — for  this  all  thanks ; 
He  dares  not  touch  a  hair  of  Catiline ! 

1 '  Traitor ! "    I  go ;  but  I  return.     This — trial  ? 

Here  I  devote  your  senate !     I've  had  wrongs 

To  stir  a  fever  in  the  blood  of  age, 

Or  make  the  infant's  sinews  strong  as  steel. 

This  day's  the  birth  of  sorrow  I     This  hour's  work 

Will  breed  proscriptions !     Look  to  your  hearths,  my  lords ! 

For  there,  henceforth,  shall  sit,  for  household  gods, 

Shapes  hot  from  Tartarus ! — all  shames  and  crimes  1 

Wan  treachery,  with  his  thirsty  dagger  drawn ; 

Suspicion,  poisoning  his  brother's  cup ; 

Naked  Rebellion,  with  the  torch  and  ax, 

Making  his  wild  sport  of  your  blazing  thrones ; 

Till  Anarchy  comes  down  on  you  like  night, 

And  massacre  seals  Rome's  eternal  grave ! 

I  go ;  but  not.  to  leap  the  gulf  alone. 

I  go ;  but,  when  I  come,  'twill  be  the  burst 

Of  ocean  in  the  earthquake — rolling  back 

In  swift  and  mountainous  ruin.     Fare  you  well ! 

You  build  my  funeral  pile ;  but  your  best  blood 

Shall  quench  its  flame !    Back,  slaves !    I  will  return ! 


Questions. 

1.  What  is  the  topic  of  this  lesson? 

2.  Define  the  Pectoral  Explosive. 

3.  What  is  the  principle  in  this  lesson? 

4.  Why  does  the  selection  require  Explosive  Pectoral? 

5.  Does  it  require  Explosive  Pectoral  throughout? 

6.  Might  the  selection  be  given  in  some  other  form  and  quality 

and  still  be  impressively  given? 

7.  What  other  combination  would  you  suggest? 


108  Science  of  Elocution. 


LESSON   XVIII. 


1. 

Exercises 

in  Position. 

2. 

Exercises 

in  Gesture. 

3. 

Exercises 

in  Breathing. 

Exercises  in 

Articulation. 

%  as  in  mute. 

tube, 

duke, 

beauty, 

amuse. 

subdue 

!> 

fury, 

usage, 

use, 

value, 

statue, 

renew, 

few. 

1.  The  curfew  tolls. 

2.  He  knew  that  it  was  wrong. 

3.  The  general  reviewed  his  army. 

4.  Few  shall  part  where  many  meet. 

5.  The  demand  determines  the  value. 

Guttural  Quality. 

The  Guttural  is  that  quality  of  voice  in  which  the 
sound  is  sent  forth  from  the  organs  in  a  rough,  harsh, 
discordant  tone,  with  the  resonance  in  the  lower  part  of 
the  throat.  It  resembles  in  quality  the  growling  utter 
ance  of  the  lower  animals.  It  differs  from  the  Pectoral 
only  in  degree.  They  are,  indeed,  one  and  the  same 
quality,  the  Pectoral  being  but  a  milder  form  of  the 
Guttural.  To  cultivate  this  quality  of  voice  practice 
the  elements,  words,  and  sentences  with  a  muffled,  harsh, 
smothered  tone. 


Guttural,  Effusive  Form.  109 

Exercises  in  Guttural,  Effusive  Form. 

1.  1,  as  heard  in  lull,  fill. 

2.  r,       *       "      round,  rise. 

3.  g,      "       "      give,  hag. 

4.  k,      "      "       kick,  lick. 

5.  v,      "       "       vile,  vice, 
revenge,  hinder,        mocked,        losses, 
hates,               gratitude,   enemies,        bargains, 
despise,  lives,  harshness,      million. 

1.  Cursed  be  my  tribe  if  I  forgive  him. 

2.  I'll  have  my  bond ;  I  will  not  hear  thee  speak. 

EXERCISES 
Contrasting  Effusive,   Oral  and  Guttural,  Orotund  and  Pectoral. 

Repeat  the  above  elements,  sounds,  and  sentences  with 

1.  Effusive  Oral. 

2.  Effusive  Guttural. 

3.  Effusive  Orotund. 

4.  Effusive  Pectoral. 

Guttural  Effusive — When  Used. 
The  Guttural,  in  the  Effusive  Form,  is  the  quality 
appropriate  for  the  expression  of  dread,  horror,  settled 
hate,  malice,  loathing,  contempt,  and  suppressed  anger. 

EXAMPLES  :  1.  HOKKOB  AND  DBEAD, 

Guttural,  Effusive  Eorm. 

Macbeth. 

SHAKE8PEABE. 

Now  o'er  the  one  half  world 
Nature  seems  dead ;  and  wicked  dreams  abuse 
The  curtained  sleep ;  now  witchcraft  celebrates 
Pale  Hecate's  offerings ;  and  withered  murder, 
Alarumed  by  his  sentinel,  the  wolf, 


110  Science  of  Elocution. 

Whose  howl's  his  watch,  thus,  with  his  stealthy  pace 

toward  his  design 

Moves  like  a  ghost.     Thou  sure  and  firm-set  earth, 
Hear  not  my  steps,  which  way  they  walk,  for  fear 
Thy  very  stones  prate  of  my  whereabout, 
And  take  the  present  horror  from  the  time, 
Which  now  suits  with  it. 

2.  HATBED  AND  MALICE. 

Merchant  of  Venice. 

SHAKESPEABE. 

How  like  a  fawning  publican  he  looks ! 

I  hate  him,  for  he  is  a  Christian ; 

But  more,  for  that,  in  low  simplicity, 

He  lends  out  money  gratis,  and  brings  down 

The  rate  of  usance  here  with  us  in  Venice. 

If  I  can  catch  him  once  upon  the  hip, 

I  will  feed  fat  the  ancient  grudge  I  bear  him. 

He  hates  our  sacred  nation ;  and  he  rails, 

Even  there  where  merchants  most  do  congregate, 

On  me,  my  bargains,  and  my  well-won  thrift, 

Which  he  calls  interest :     Cursed  be  my  tribe 

If  I  forgive  him ! 


Questions. 

1.  "What  Quality  is  presented  in  this  lesson  ? 

2.  Define  it. 

3.  What  is  the  difference  between  the  Quality  in  this  lesson  an<X 

the  Quality  presented  in  Lesson  XV  ? 

4.  What  is  the  topic  in  this  lesson  ? 

5.  What  the  principle  ? 

6.  Mention  some  example  in  nature  illustrating  the  principle. 

7.  Why  does  the  selection  require  the  Guttural  Quality? 

8.  Does  it  require  the  Effusive  Form  on  every  word  ? 


Guttural,  Expulsive  Form.  Ill 


LESSON    XIX. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 


ou,  as  in  out. 

sound, 

hour,            thou, 

plow, 

pound, 

bound,         mount, 

fount. 

1.  Out,  out,  brief  candle ! 

2.  Sound,  sound  the  alarm  ! 

3.  A  thousand  at  thy  side  shall  fall. 

4.  Put  out  the  light,  and  then  put  out  the  light. 

5.  A  day,  an  hour,  of  virtuous  liberty  is  worth  a 
whole  eternity  of  bondage. 

Guttural  Expulsive. 

To  cultivate  the  Guttural  in  the  Expulsive  Form, 
practice  the  following  elements,  words,  and  sentences, 
with  all  the  harshness  and  roughness  of  tone  possible, 
being  careful,  however,  not  to  injure  the  vocal  organs 
by  continuing  the  practice  too  long,  or  repeating  too 
frequently. 

Exercises  in  Guttural,  Expulsive  Form. 

1.  I,  as  in  vile. 

2.  e,     "     stern. 

3.  a,     "     hate. 

4.  u,     "     use. 

5.  o,     "     old. 


112  Science  of  Elocution. 

revenge,  horror,  eyes,  defy, 

rang,  bowl,  steel,  clang, 

blade,  black,  plume,        head. 

1.  Blaze  with  your  serried  columns. 

2.  If  it  will  feed  nothing  else  it  will  feed  my 
revenge. 

exercises 

Contrasting  Expulsive,  Oral  and  Guttural,  Orotund  and  Pectoral. 

Repeat  several  times  the  above  elements,  words,  and 

sentences  with 

1.  Expulsive  Oral. 

2.  Expulsive  Guttural. 

3.  Expulsive  Orotund. 

4.  Expulsive  Pectoral. 

Guttural  Expulsive — When  Used. 

The  Guttural  in  the  Expulsive  Form  is  appropriate 
for  the  expression  of  deep-seated  revenge,  settled  rage, 
intense  loathing,  defiance,  and  similar  malignant  pas- 
sions. 

EXAMPLE  :  ANGEB,  KAGE,  DEFIANCE,  AND  HATE. 

Guttural  Expulsive. 

The  Baron's  Last  Banquet. 

A.  G.  GREENE. 

1.  O'er  a  low  couch  the  setting  sun 

Had  thrown  its  latest  ray, 
Where,  in  his  last  strong  agony, 

A  dying  warrior  lay — 
The  stern  old  Baron  Rudiger, 

Whose  frame  had  ne'er  been  bent 
By  wasting  pain,  till  time  and  toil 

Its  iron  strength  had  spent. 


s 


Guttural  Expulsive.  113 

2.  "They  come  around  me  here,  and  say 

My  days  of  life  are  o'er — 
That  I  shall  mount  my  noble  steed 

And  lead  my  band  no  more : 
They  come,  and  to  my  beard  they  dare 

To  tell  me  now,  that  I, 
Their  own  liege  lord  and  master  born — 

That  I— ha!  ha!— must  die! 

3.  "  And  what  is  Death  ?    I've  dared  him  oft 

Before  the  Paynim's  spear — 
Think  ye  he's  entered  at  my  gate, 

Has  come  to  seek  me  here  ? 
I've  met  him,  faced  him,  scorned  him, 

When  the  fight  was  raging  hot — 
I'll  try  his  might — I'll  brave  his  power — 

Defy,  and  fear  him  not ! 

i.  "Ho !  sound  the  tocsin  from  the  tower, 

And  fire  the  culverin ! 
Bid  each  retainer  arm  with  speed, 

Call  every  vassal  in ! 
Up  with  my  banner  on  the  wall ! 

The  banquet  board  prepare ! 
Throw  wide  the  portal  of  my  hall, 

And  bring  my  armor  there !  " 

5.  A  hundred  hands  were  busy  then; 

The  banquet  forth  was  spread, 
And  rang  the  heavy  oaken  floor 

With  many  a  martial  tread ; 
While  from  the  rich,  dark  tracery, 

Along  the  vaulted  wall, 
Lights  gleamed  on  harness,  plume,  and  spear, 

O'er  the  proud  Gothic  hall. 

6.  Fast  hurrying  through  the  outer  gate, 

The  mailed  retainers  poured, 
On  through  the  portal's  frowning  arch, 
And  thronged  around  the  board; 


114  Science  of  Elocution. 

While  at  its  head,  within  his  dark, 
Carved  oaken  chair  of  state, 

Armed  cap-a-pie,  stern  Rudiger, 
With  girded  falchion  sate. 

7.  "  Fill  every  beaker  up,  my  men! 

Pour  forth  the  cheering  wine ! 
There's  life  and  strength  in  every  drop, 

Thanksgiving  to  the  vine ! 
Are  ye  all  there,  my  vassals  true  ? 

Mine  eyes  are  waxing  dim : 
Fill  round,  my  tried  and  fearless  ones, 

Each  goblet  to  the  brim  ! 

8.  "  Ye're  there,  but  yet  I  see  you  not! 

Draw  forth  each  trusty  sword, 
And  let  me  hear  your  faithful  steel 

Clash  once  around  my  board ! 
I  hear  it  faintly — louder  yet! 

What  clogs  my  heavy  breath? 
Up,  all !  and  shout  for  Rudiger, 

*  Defiance  unto  Death! ' " 

9.  Bowl  rang  to  bowl,  steel  clang  to  steel, 

And  rose  a  deafening  cry, 
That  made  the  torches  flare  around, 

And  shook  the  flags  on  high : 
"Ho!  cravens!  do  ye  fear  him? 

Slaves!  traitors!  have  ye  flown? 
Ho!  cowards,  have  ye  left  me 

To  meet  him  here  alone? 

10.  "  But  I  defy  him!  let  him  come!  " 
Down  rang  the  massive  cup, 

While  from  its  sheath  the  ready  blade 
Came  flashing  half-way  up; 

And  with  the  black  and  heavy  plumes 
Scarce  trembling  on  his  head, 

There,  in  his  dark,  carved,  oaken  chair, 
Old  Rudiger  sat— dead ! 


Guttural,  Expulsive  Fobm.  115 

Questions. 

1.  What  is  the  element  in  this  lesson? 

2.  What  the  topic  ? 

3.  What  the  principle  ? 

4.  What  Form  and  Quality  does  the  first  stanza  of  the  selection  in 

this  lesson  require  ? 

5.  Why  does  the  impersonation  require  the  Expulsive  Guttural  ? 


LESSON    XX. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 
b,  as  in  boy. 
bad,  boon,  bind,  brown, 

tube,         curb,  bend,         rub. 

1.  Brave  boys  of  Bengal. 

2.  The  bards  of  the  Bible. 

3.  Be  brave,  be  bold,  be  good. 

4.  Bend  not  before  the  beauteous  vision. 

5.  Bind  beauteous  boughs  upon  his  brow. 

Guttural  Explosive. 
Practice  the  elements  and  words  with  a  gruff,  growl- 
ing, harsh  tone,  in  the  Explosive  Form. 

Exercises  in  Guttural,  Explosive  Form. 

1.  e,  as  in  end. 

2.  I,      "     ice. 

3.  a,     "     ask. 

4.  u,     "     use. 

5.  o,     "     old. 


116  Science  of  Elocution. 

blaze,  served,  bend,  knee, 

shackles,  mailed,  tempest,  muttered, 

dread,  blow,  scorn,  treaty, 

defy,  revenge,  slave,  wave. 

1.  The  pale  face  I  defy. 

2.  I  scorn  your  proffered  treaty. 

EXERCISES 

Contrasting  Oral  and  Guttural,  Orotund  and  Pectoral,  in  Effusive  and 
Explosive  Forms. 
Repeat  the  above  sounds,  words,  and  sentences  with 

1.  Effusive  Oral. 

2.  Effusive  Guttural. 

3.  Explosive  Oral. 

4.  Explosive  Guttural. 

5.  Effusive  Orotund. 

6.  Effusive  Pectoral. 

7.  Explosive  Orotund. 

8.  Explosive  Pectoral. 

Guttural  Explosive — When  Used. 

The  Guttural  in  the  Explosive  Form  is  the  quality 
appropriate  for  the  expression  of  intense  anger,  hate, 
detestation,  and  defiance. 

EXAMPLE  :  INTENSE  ANGER,  HATE,  DETESTATION, 
AND  DEFIANCE. 

Guttural,  Explosive  Form. 

The  Seminole's  Defiance. 

O.  W.  PATTEN. 

1.  Blaze,  with  your  serried  columns !    I  will  not  bend  the  knee : 
The  shackle  ne'er  again  shall  bind  the  arm  which  now  is 
free  I 


Guttural,  Explosive  Form.  117 

I've  mailed  it  with  the  thunder,  when  the  tempest  muttered 
low; 

And  where  it  falls,  ye  well  may  dread  the  lightning  of  its 
blow. 

I've  scared  you  in  the  city,  I've  scalped  you  on  the  plain ; 

Go,  count  your  chosen  where  they  fell  beneath  my  leaden  rain! 

I  scorn  your  proffered  treaty;  the  pale-face  I  defy; 

Revenge  is  stamped  upon  my  spear,  and  "  blood"  my  bat- 
tle-cry ! 

2.  Some  strike  for  hope  of  booty ;  some  to  defend  their  all — 
I  battle  for  the  joy  I  have  to  see  the  white  man  fall. 

I  love,  among  the  wounded,  to  hear  his  dying  moan, 

And  catch,  while  chanting  at  his  side,  the  music  of  his  groan. 

You've  trailed  me  through  the  forest ;  you've  tracked  me 
o'er  the  stream ; 

And  struggling  through  the  everglade  your  bristling  bayo- 
nets gleam. 

But  I  stand  as  should  the  warrior,  with  his  rifle  and  his  spear ; 

The  scalp  of  vengence  still  is  red,  and  warns  you — "  Come 
not  here ! " 

3.  Think  ye  to  find  my  homestead? — I  gave  it  to  the  fire. 
My  tawny  household  do  you  seek? — I  am  a  childless  sire. 
But,  should  you  crave  life's  nourishment,  enough  I  have,  and 

good; 
I  live  on  hate — 'tis  all  my  bread ;  yet  light  is  not  my  food. 
I  loathe  you  with  my  bosom !  I  scorn  you  with  mine  eye ! 
And  I'll  taunt  you  with  my  latest  breath,  and  fight  you  till 

I  die! 
I  ne'er  will  ask  for  quarter,  and  I  ne'er  will  be  your  slave ; 
But  I'll  swim  the  sea  of  slaughter  till  I  sink  beneath  the  wave  I 


Questions. 

1.  What  is  the  topic  in  this  lesson? 

2.  What  is  the  element  ? 

3.  What  is  the  principle  ? 

4.  Why  does  the  selection  require  Explosive  Form  ? 

5.  Why  does  it  require  Guttural  Quality  ? 

6.  Could  the  selection  be  given  impressively  with  Explosive,  Pure 

Tone? 


118  Science  of  Elocution. 


LESSON  XXI. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exeecises  in  Articulation. 

d,  as  in  did. 
duty,  day,  defy, 

add,  sad,  bard. 

1.  Dare  to  do  right. 

2.  Deep  calleth  unto  deep. 

3.  Down  the  long  dark  line. 

4.  Do  you  dare  defy  my  authority  ? 

5.  Down  on  thy  knees,  thy  doom  is  sealed. 

Falsetto  quality. 

The  Falsetto  is  a  high,  thin  quality,  the  resonance  seem- 
ingly just  above  the  center  of  the  roof  of  the  mouth. 
It  is  chiefly  used  in  burlesque,  though  it  is  sometimes 
employed  in  calling  and  echoes. 


Sxercises  in  Falsetto,  Effusive 

!  FOEM 

1.  o,  is  in  no. 

2.  a,     "     arm. 

3.  oo,  "     ooze. 

blow,              co,             dying, 

ahoy, 

charcoal,       come,        arm, 

home. 

1.  Ay,  ay,  sir. 

2.  Dying,  dying,  dying. 

Falsetto,  Effusive  Foem.  119 

EXERCISES 

Contrasting  Falsetto  and  Orotund,  Effusive  Form. 
Repeat  the  sounds,  words,  and  sentences  with 

1.  Effusive  Falsetto. 

2.  Effusive  Orotund. 

Falsetto,  Effusive  Form — When  Used. 

The  Falsetto  in  the  Effusive  Form  is  chiefly  em- 
ployed in  calling  and  illustrating  the  echo. 

EXAMPLE :  ECHOES. 

Falsetto,  Effusive  Form. 

[In  the  followiug  selection,  only  the  words,  **dy!n?,  dying,  dying,"  in  each  stanza, 
•hould  be  given  with  the  Falsetto.] 

Bugle  Song. 

ALFRED  TENNYSON. 

1.  The  splendor  falls  on  castle  walls, 

And  snowy  summits  old  in  story ; 
The  long  light  shakes  across  the  lakes, 

And  the  wild  cataract  leaps  in  glory. 
Blow,  bugle,  blow;  set  the  wild  echos  flying; 
Blow,  bugle;  answer,  echoes,  dying,  dying,  dying. 

2.  O  hark,  O  hear !  how  thin  and  clear, 

And  thinner,  clearer,  farther  going ; 
O  sweet  and  far,  from  cliff  and  scar, 

The  horns  of  Elf -land  faintly  blowing ! 
Blow ;  let  us  hear  the  purple  glens  replying ; 
Blow,  bugle ;  answer,  echoes,  dying,  dying,  dying. 

3.  O  love,  they  die  in  yon  rich  sky, 

They  faint  on  field,  on  hill,  on  river ; 
Our  echoes  roll  from  soul  to  soul, 

And  grow  forever  and  forever. 
Blow,  bugle,  blow ;  set  the  wild  echoes  flying, 
And  answer,  echoes,  answer,  dying,  dying,  dying. 


120  Science  of  Elocution. 


Questions. 

1.  "What  is  the  element  in  this  lesson  ? 

2.  What  is  the  topic  ? 

3.  Define  Falsetto  Quality. 

4.  Where  in  nature  do  we  have  an  illustration  of  the  Falsetto  ? 

5.  Where  in  art? 

6.  Why  do   the  words,  "dying,  dying,  dying,"  require    Effusive 

Falsetto  ? 
1.  What  form  and  quality  do  the  words,  "Blow,  bugle,  blow," 

require  ? 
8.  Why? 


LESSON  XXII. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 

g,  as  in  go. 
gone,  gad,  gasp, 

glad,  hag,  tug. 

1.  Go,  give  thy  gains  away. 

2.  Gold  gave  thee  all  thy  grace. 

3.  Gather  graces  from  the  groves. 

4.  Grasp  the  goal  and  gain  the  prize. 

5.  Grant  ye,  O  grant  ye,  this  boon  to  me. 

Falsetto  Expulsive. 

To  cultivate  the  Falsetto  Expulsive,  practice  the 
sounds  and  words  in  the  Expulsive  Form  on  a  high, 
thin  tone. 


Falsetto  Expulsive.  121 

1.  I,  as  in  ice. 

2.  6,     "     old. 

3.  a,     "     ale. 

no,  high,  blow,  fling, 

now,  rmg>  sound,  loud. 

1.  Say  our  home. 

2.  There,  Mr.  Caudle. 

EXERCISES 

Contrasting  Expulsive  Falsetto  and  Orotund. 

Repeat  the  words,  sounds,  and  sentences  with 

1.  Expulsive  Falsetto. 

2.  Expulsive  Orotund. 

Falsetto  Expulsive — When  Used. 
The  Falsetto  in  the  Expulsive  Form  is  appropriately 
employed  in  calling,  scolding,  burlesque,  command,  and 
utterance  of  severity. 

EXAMPLE  :  CALLING,  ECHO,  AND  BTJBLESQUE. 

Falsetto  Expulsive. 

The  Charcoal  Man. 

J.  T.  TBOWBKIDGE. 

Though  rudely  blows  the  wintry  blast, 
And  sifting  snows  fall  white  and  fast, 
Mark  Haley  drives  along  the  street, 
Perch'd  high  upon  his  wagon  seat : 
His  somber  face  the  storm  defies, 
And  thus  from  morn  till  eve  he  cries, — 

"Charco'  !  charco'  !  " 
While  echo  faint  and  far  replies, — 

"Hark,  Olhark,  O!" 
"  Charco'  ! "  —  M  Hark,  O  ! "  —  Such  cheery  sounds 
Attend  him  on  his  daily  rounds. 


122  Science  of  Elocution. 

The  dust  begrimes  his  ancient  hat; 

His  coat  is  darker  far  than  that : 

'Tis  odd  to  see  his  sooty  form 

All  speckled  with  the  feathery  storm ; 

Yet  in  his  honest  bosom  lies 

Nor  spot  nor  speck, — though  still  he  cries, 

"Charco' !  charco'!" 
And  many  a  roguish  lad  replies, — 

"Ark,  ho!  ark,  ho!" 
"  Charco' !  "—"Ark,  ho !  " — Such  various  sounds 
Announce  Mark  Haley's  morning  rounds. 

Thus  all  the  cold  and  wintry  day 
He  labors  much  for  little*pay; 
Yet  feels  no  less  of  happiness 
Than  many  a  richer  man,  I  guess, 
When  through  the  shades  of  eve  he  spies 
The  light  of  his  own  home,  and  cries, — 

"Charco' !  charco'!" 
And  Martha  from  the  door  replies, — 

"Mark,  ho!  Mark,  ho!" 
"  Charco' !  " — "  Mark,  ho !  " — Such  joy  abounds 
When  he  has  closed  his  daily  rounds. 

The  hearth  is  warm,  the  fire  is  bright ; 

And,  while  his  hand,  wash'd  clean  and  white, 

Holds  Martha's  tender  hand  once  more, 

His  glowing  face  bends  fondly  o'er 

The  crib  wherein  his  darling  lies; 

And  in  a  coaxing  tone  he  cries, 

"Charco'!  charco'!" 
And  baby  with  a  laugh  replies, 

"Ah,  go!  ah,  go!" 
"  Charco' ! "— "  Ah,  go !  "—While  at  the  sounds 
The  mother's  heart  with  gladness  bounds. 

Then  honored  be  the  charcoal  man ! 
Though  dusky  as  an  African, 
'Tis  not  for  you,  that  chance  to  be 
A  little  better  clad  than  he, 


Falsetto  Expulsive.  123 

His  honest  manhood  to  despise, 
Although  from  morn  till  eve  he  cries, — 

"  Charco' !  charco' !  " 
While  mocking  echo  still  replies, — 

"Hark,  O!  hark,  O!" 
"Charco' ! "  —  "Hark,  O ! "  —  Long  may  the  sounds 
Proclaim  Mark  Haley's  daily  rounds ! 


Questions 

1.  What  parts  of  the  selection  require  the  Falsetto  Expulsive? 

2.  What  do  the  other  parts  require  ? 


lessoist  xxiii. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 


g,  as  m  gem. 

jam, 

join, 

cage, 

jump, 

June, 

jeer. 

1.  Justly  judge  the  cause. 

2.  Gems  of  richest  ray  serene. 

3.  Justice  should  join  with  Mercy. 

4.  Join,  all  ye  people,  in  his  praise. 

5.  Juno,  the  sister  and  wife  of  Jupiter. 

The  exercises  which  have  been  given  under  the  Ef- 
fusive and  Expulsive  will  be  quite  sufficient  for  culti- 
vating the  Falsetto. 


124  Science  of  Elocution, 

exercises 

Contrasting  Falsetto  and  Pure  Tone  Explosive. 
Repeat  the  words,  sounds,  and  sentences  with 

1.  Explosive  Pure  Tone. 

2.  Explosive  Falsetto. 

Falsetto  Explosive — When  Used. 
In  the  Explosive  Form  the  Falsetto  will  be  employed 
chiefly  in  scolding  and  burlesque. 

EXAMPLE. 

Falsetto  Explosive. 

The  Green  Mountain  Justice. 
1    "  The  snow  is  deep,"  the  Justice  said; 
"There's  mighty  mischief  overhead." 
"High  talk,  indeed! "  his  wife  exclaimed; 
"What,  sir!  shall  Providence  be  blamed?" 
The  Justice,  laughing,  said,  "  O  no ! 
I  only  meant  the  loads  of  snow 
Upon  the  roof.     The  barn  is  weak ; 
1  greatly  fear  the  roof  will  break. 
So  hand  me  up  the  spade,  my  dear, 
I'll  mount  the  barn,  the  roof  to  clear." 
" No !  "  said  the  wife;  "the  barn  is  high, 
And  if  you  slip,  and  fall,  and  die, 
How  will  my  living  be  secured? — 
Stephen,  your  life  is  not  insured. 
But  tie  a  rope  your  waist  around, 
And  it  will  hold  you  safe  and  sound." 
"I  will,"  said  he.     "  Now  for  the  roof — 
All  snugly  tied,  and  danger-proof ! 
Excelsior !  Excel —     But  no ! 
The  rope  is  not  secured  below ! " 
Said  Radiol,  "Climb,  the  end  to  throw 
Across  the  top,  and  I  will  go 
And  tie  that  end  around  my  waist." 
1 '  Well,  every  woman  to  her  taste ; 
You  always  would  be  tightly  laced. 


Falsetto  Explosive.  125 

Rachel,  when  you  became  my  bride, 
I  thought  the  knot  securely  tied ; 
But  lest  the  bond  should  break  in  twain, 
I'll  have  it  fastened  once  again." 

2.  Below  the  elbows  tied  around, 
She  takes  her  station  on  the  ground, 
While  on  the  roof,  beyond  the  ridge, 
He  shovels  clear  the  lower  edge. 
But,  sad  mischance !  the  loosened  snow 
Comes  sliding  down,  to  plunge  below. 
And  as  he  tumbles  with  the  slide, 
Up  Rachel  goes  on  t'other  side. 
Just  half-way  down  the  Justice  hung; 
Just  half-way  up  the  woman  swung. 
" Good  land  o'  Goshen! "  shouted  she; 
"Why,  do  you  see  it?"  answered  he. 

8.  The  couple,  dangling  in  the  breeze, 
Like  turkeys  hung  outside  to  freeze, 
At  their  rope's  end  and  wit's  end,  too, 
Shout  back  and  forth  what  best  to  do. 
Cried  Stephen, "  Take  it  coolly,  wife; 
All  have  their  ups  and  downs  in  life." 
Quoth  Rachel,  "What  a  pity  'tis 
To  joke  at  such  a  time  as  this ! 
A  man  whose  wife  is  being  hung 
Should  know  enough  to  hold  his  tongue." 
1 '  Now,  Rachel,  as  I  look  below, 
I  see  a  tempting  heap  of  snow. 
Suppose,  my  dear,  I  take  my  knife, 
And  cut  the  rope  to  save  my  life." 
She  shouted,  "Don't!  'twould  be  my  death- 
I  see  some  pointed  stones  beneath. 
A  better  way  would  be  to  call 
With  all  our  might,  for  Phebe  Hall." 
"Agreed!  "  he  roared.     First  he,  then  she 
Gave  tongue:  "O  Phebe!  Phebe!  PJie-e-be 
Hall ! "  in  tones  both  fine  and  coarse, 
Enough  to  make  a  drover  hoarse. 


126  Science  of  Elocution. 

4.  Now  Phebe,  over  at  the  farm, 

Was  sitting,  sewing,  snug  and  warm ; 
But  hearing,  as  she  thought,  her  name, 
Sprang  up,  and  to  the  rescue  came, 
Beheld  the  scene,  and  thus  she  thought : 
"If  now  a  kitchen  chair  were  brought, 
And  I  could  reach  the  lady's  foot, 
I'd  draw  her  downward  by  the  boot, 
Then  cut  the  rope,  and  let  him  go ; 
He  cannot  miss  the  pile  of  snow." 
He  sees  her  moving  toward  his  wife, 
Armed  with  a  chair  and  carving-knife, 
And,  ere  he  is  aware,  perceives 
His  head  ascending  to  the  eaves ; 
And,  guessing  what  the  two  are  at, 
Screams  from  beneath  the  roof,  "  Stop  that! 
You'll  make  me  fall  too  far,  by  half ! " 
But  Phebe  answers,  with  a  laugh, 
"Please  tell  a  body  by  what  right 
You've  brought  your  wife  to  such  a  plight l" 
And  then,  with  well-directed  blows, 
She  cuts  the  rope  and  down  he  goes. 

5.  The  wife  untied,  they  walk  around, 
When  lo !  no  Stephen  can  be  found. 
They  call  in  vain,  run  to  and  fro ; 
They  look  around,  above,  below ; 
No  trace  or  token  can  they  see, 
And  deeper  grows  the  mystery. 
Then  Rachel's  heart  within  her  sank ; 
But,  glancing  at  the  snowy  bank, 
She  caught  a  little  gleam  of  hope, — 
A  gentle  movement  of  the  rope. 
They  scrape  away  a  little  snow; 
What's  this?    A  hat!    Ah!  he's  below. 
Then  upward  heaves  the  snowy  pile, 
And  forth  he  stalks  in  tragic  style, 
Unhurt,  and  with  a  roguish  smile ;  i 
And  Rachel  sees,  with  glad  surprise, 
The  missing  found,  the  fallen  rise. 


Nasal  Quality.  127 

Questions. 

1.  What  parts  of  the  selection  in  this  lesson  require  the  Explosive 

Falsetto? 

2.  What  do  the  other  parts  require  ? 


LESSON   XXIV. 

1.  Exercises  in  Position. 

2.  Exercises  in  Gesture. 

3.  Exercises  in  Breathing. 

Exercises  in  Articulation. 

v,  as  in  veer. 

vale,  vase,  vent, 

have,  live,  brave. 

1.  Value  virtue  highly. 

2.  Valiant  deeds  deserve  praise. 

3.  Vain,  vain,  are  all  thy  efforts. 

4.  Verily,  verily,  I  say  unto  you. 

5.  Vile  villains  vent  their  vengeance. 

Nasal  Quality. 

The  Nasal  is  a  dull,  heavy  quality  of  voice,  having 
the  resonance  in  the  nasal  passage.  It  is  not,  as  is  gen- 
erally supposed,  a  speaking  through  the  nose,  for  the 
tone  may  be  produced  as  well  with  nostrils  closed  as 
with  them  open,  but  simply  placing  the  resonance  in  the 
nasal  passage.  As  this  quality  is  rarely  used,  except  in 
ludicrous  impersonation,  it  will  be  presented  only  in  one 
form,  the  Expulsive. 


128  Science  of  Elocution. 

Practice  the  following  sounds  and  words,  first  with 
the  nasal  passage  closed  and  then  in  a  nasal  tone  with 
it  open. 

Exercises  in  Nasal  Expulsive. 
1.  e,  as  in  me. 


2.  a, 

"     ale. 

3.    I, 

"     wiud. 

4.  u, 

"     use. 

birds, 

trees, 

smarter, 

thumb, 

man, 

down, 

weasel, 

asleep, 

pain, 

head, 

speak, 

flying. 

Nasal  Expulsive — When  Used. 

The  Nasal  Quality  will  rarely  be  required  except  in  the 
personation  of  peculiar  characters,  in  which  the  object  is 
to  burlesque  and  render  more  ludicrous.  In  the  fol- 
lowing selection  the  utterances  of  Darius  should  be 
given  with  the  Nasal  Expulsive. 

EXAMPLE :  BURLESQUE. 

Nasal,  Expulsive  Form. 

Darius  Green  and  his  Flying-Machine. 

J.  T.  TBOWBBIDGE. 

1.  If  ever  there  lived  a  Yankee  lad, 
Wise  or  otherwise,  good  or  bad, 
Who,  seeing  the  birds  fly.  didn't  jump 
With  flapping  arms  from  stake  or  stump, 
Or,  spreading  the  tail  of  his  coat  for  a  bail, 
Take  a  soaring  leap  from  post  or  rail, 
And  wonder  why  he  couldn't  fly, 
And  flap  and  flutter  and  wish  and  try, 
If  ever  you  knew  a  country  dunce 
Who  didn't  try  that  as  often  as  once, 
All  I  can  say  is,  that's  a  sign 
He  never  would  do  for  a  hero  of  mine. 


Nasal,  Expulsive  Form.  129 

An  aspiring  genius  was  Dary  Green; 
The  son  of  a  farmer, — age  fourteen, 
His  body  was  long  and  lank  and  lean, — 
Just  right  for  flying,  as  will  be  seen ; 
He  had  two  eyes  as  bright  as  a  bean, 
And  a  freckled  nose  that  grew  between, 
A  little  awry ;  for  I  must  mention 
That  he  had  riveted  his  attention 
Upon  his  wonderful  invention, 
Twisting  his  tongue  as  he  twisted  the  strings, 
And  working  his  face  as  he  work'd  the  wings, 
And  with  every  turn  of  gimlet  or  screw 
Turning  and  screwing  his  mouth  round  too, 
Till  his  nose  seem'd  bent  to  catch  the  scent, 
Around  some  corner,  of  new-baked  pies, 
And  his  wrinkled  cheeks  and  his  squinting  eyes 
Grew  puckered  into  a  queer  grimace, 
That  made  him  look  very  droll  in  the  face, 
And  also  very  wise. 

And  wise  he  must  have  been,  to  do  more 
Than  ever  a  genius  did  before, 
Excepting  Daedalus  of  yore 
And  his  son  Icarus,  who  wore 
Upon  their  backs  those  wings  of  wax 
He  had  read  of  in  the  old  almanacs. 
Darius  was  clearly  of  the  opinion, 
That  the  air  is  also  man's  dominion, 
And  that,  with  paddle  or  fin  or  pinion, 
We  soon  or  late  shall  navigate 
The  azure  as  now  we  sail  the  sea. 
'lite  thing  looks  simple  enough  to  me; 

And,  if  you  doubt  it, 
Hear  how  Darius  reason'd  about  it : 

"  The  birds  can  fly,  an'  why  can't  I? 

Must  we  give  in,"  says  he  with  a  grin, 

"  That  the  bluebird  an'  phoebe  are  smarter'n  we  be? 

Jest  fold  our  hands,  an'  see  the  swaller 

An'  black-bird  an'  cat-bird  beat  us  holler? 


9 


130  Science  of  Elocution. 

Does  the  little  chatterin',  sassy  wren, 

No  bigger'n  my  thumb,  know  more  than  men? 

Jest  show  me  that !  ur  prove  't  the  bat 

Hez  got  more  brains  than's  in  my  hat, 

An'  I'll  back  down,  an'  not  till  then !  " 

He  argued  further:  "  Nur  I  can't  see 

What's  th'  use  o'  wings  to  a  bumble-bee, 

Fur  to  git  a  livin'  with,  more'n  to  me ; — 

Aint  my  business  important's  his'n  is? 

That  Icarus  made  a  pretty  muss, — 

Him  an'  his  daddy  Daedalus ; 

They  might  'a'  know'd  that  wings  made  o'  wax 

Wouldn't  stand  sun-heat  an'  hard  whacks : 

I'll  make  mine  o'  luther,  ur  suthin'  ur  other. " 


And  he  said  to  himself,  as  he  tinker'd  and  plann'd, 

"  But  I  aint  goin'  to  show  my  hand 

To  nummies  that  never  can  understand 

The  fust  idee  that's  big  an'  grand." 

So  he  kept  his  secret  from  all  the  rest, 

Safely  buttoned  within  his  vest ; 

And  in  the  loft  above  the  shed 

Himself  he  locks,  with  thimble  and  thread 

And  wax  and  hammer  and  buckles  and  screws, 

And  all  such  things  as  geniuses  use ; — 

Two  bats  for  patterns,  curious  fellows ! 

A  charcoal-pot  and  a  pair  of  bellows ; 

Some  wire,  and  several  old  umbrellas ; 

A  carriage-cover,  for  tail  and  wings; 

A  piece  of  harness ;  and  straps  and  string ; 

And  a  big  strong  box,  in  which  he  locks 

These  and  a  hundred  other  things. 

His  grinning  brothers,  Reuben  and  Burke 

And  Nathan  and  Jotham  and  Solomon,  lurk 

Around  the  corner  to  see  him  work, 

Sitting  cross-legged,  like  a  Turk, 

Drawing  the  wax'd-end  through  with  a  jerk, 

And  boring  the  holes  with  a  comical  quirk 

Of  his  wise  old  head,  and  a  knowing  smirk. 


Nasal,  Expulsive  Form.  131 

But  vainly  they  mounted  each  other's  backs, 

And  poked  through  knot-holes  and  pried  through  cracks ; 

With  wood  from  the  pile  and  straw  from  the  stacks 

He  plugg'd  the  knot-holes  and  calk'd  the  cracks ; 

And  a  dipper  of  water,  which  one  would  think 

He  had  brought  up  into  the  loft  to  drink 

When  he  chanced  to  be  dry, 

Stood  always  nigh,  for  Darius  was  sly ! 

And,  whenever  at  work  he  happen'd  to  spy 

At  chink  or  crevice  a  blinking  eye, 

He  let  the  dipper  of  water  fly : 

" Take  that!  an',  ef  ever  ye  git  a  peep, 

Guess  ye'll  ketch  a  weasel  asleep !  " 

And  he  sings  as  he  locks  his  big  strong  box : 

5.  "  The  weasel's  head  is  small  an'  trim, 
An'  he  is  little  an'  long  an'  slim, 

An'  quick  of  motion  an'  nimble  of  limb, 

An'  ef  you'll  be  advised  by  me, 

Keep  wide-awake  when  ye're  ketchin'  him!  " 

6.  So  day  after  day 

He  stitch'd  and  tinker'd  and  hammer'd  away, 

Till  at  last  'twas  done, — 
The  greatest  invention  under  the  sun ! 
"  An'  now,"  says  Darius,  "hooray  for  some  fun !  " 

7.  'Twas  the  Fourth  of  July,  and  the  weather  was  dry, 
And  not  a  cloud  was  on  all  the  sky, 

Save  a  few  light  fleeces,  which  here  and  there 

Half-mist,  half-air, 
Like  foam  on  the  ocean  went  floating  by, — 
Just  as  lovely  a  morning  as  ever  was  seen 
For  a  nice  little  trip  in  a  flying-machine. 
Thought  cunning  Darius,  "  Now  I  sha'n't  go 
Along  'ith  the  fellers  to  see  the  show: 
I'll  say  I've  got  sich  a  terrible  cough! 
An'  then  when  the  folks  'ave  all  gone  off, 
I'll  hev  full  swing  fur  to  try  the  thing, 
An'  practice  a  little  on  the  wing." 


132  Science  of  Elocution. 

8.  "  Aint  goin'  to  see  the  celebration?  " 
Says  Brother  Nate.     "  No ;  botheration ! 
I've  got  sich  a  cold — a  toothache — I — 

My  gracious ! —  feel's  though  I  should  fly ! " 
Said  Jotham,  "  Sho!  guess  ye  better  go." 

.But  Darius  said,  "No! 
Shouldn't  wonder  'f  you  might  see  me,  though, 
'Long  'bout  noon,  ef  I  git  red 
O'  this  jumpin',  thumpin'  pain  in  my  head." 

9.  For  all  the  while  to  himself  he  said, — 

" I  tell  ye  what! 
I'll  fly  a  few  times  around  the  lot, 
To  see  how  it  seems,  then  soon's  I've  got 
The  hang  o'  the  thing,  ez  likely's  not, 
"I'll  astonish  the  nation,  an'  all  creation, 
By  flyin'  over  the  celebration  ! 
Over  their  heads  I'll  sail  like  an  eagle ; 
I'll  balance  myself  on  my  wings  like  a  sea-gull ; 
I'll  dance  on  the  chimbleys ;  I'll  stand  on  the  steeple ; 
I'll  flop  up  to  winders  an'  scare  the  people ! 
I'll  light  on  the  liberty -pole,  an'  crow ; 
An'  I'll  say  to  the  gawpin'  fools  below, 
'  What  world's  this  'ere  that  I've  come  near  ? ' 
Fur  I'll  make  'em  b'lieve  I'm  a  chap  f 'm  the  Moon ; 
An'  I'll  try  a  race  'ith  their  oV  balloon !  " 

10.  He  crept  from  his  bed ; 

And,  seeing  the  others  were  gone,  he  said, 
"I'm  gittin'  over  the  cold  'n  my  head." 

And  away  he  sped, 
To  open  the  wonderful  box  in  the  shed. 

11.  His  brothers  had  walk'd  but  a  little  way, 
When  Jotham  to  Nathan  chanced  to  say, 
"What  is  the  feller  up  to,  hey?" 

"  Don'o', — the's  suthra'  ur  other  to  pay, 
Ur  he  wouldn't 'a'  stay'd  to  hum  to-day." 
Says  Burke,  "His  toothache's  all  'n  his  eye! 
He  never'd  miss  a  Fo'th-o'-July, 
Ef  he  hedn't  got  some  machine  to  try." 


Nasal,  Expulsive  Form.  133 

Then  Sol,  the  little  one,  spoke :  ' '  By  darn 

Le's  hurry  back,  an'  hide  'n  the  barn, 

An'  pay  him  fur  tellin'  us  that  yarn!  " 

"Agreed !  "   Through  the  orchard  they  creep  back, 

Along  by  the  fences,  behind  the  stack, 

And  one  by  one,  through  a  hole  in  the  wall, 

In  under  the  dusty  barn  they  crawl, 

Dress'd  in  their  Sunday  garments  all ; 

And  a  very  astonishing  sight  was  that, 

"When  each  in  his  cobwebb'd  coat  and  hat 

Came  up  through  the  floor  like  an  ancient  rat. 

And  there  they  hid ;  and  Reuben  slid 

The  fastenings  back,  and  the  door  undid. 

''Keep  dark !  "  said  he, 
"While  I  squint  an'  see  what  the'  is  to  see." 

12.  As  knights  of  old  put  on  their  mail, — 
From  head  to  foot  an  iron  suit, 

Iron  jacket  and  iron  boot, 

Iron  breeches,  and  on  the  head 

No  hat,  but  an  iron  pot  instead, 

And  under  the  chin  the  bail 

(I  believe  they  call'd  the  thing  a  helm), — 

Then  sallied  forth  to  overwhelm 

The  dragons  and  pagans  that  plagued  the  realm ; 

So  this  modern  knight  prepared  for  flight, 

Put  on  his  wings  and  strapp'd  them  tight, — 

Jointed  and  jaunty,  strong  and  light, — 

Buckled  them  fast  to  shoulder  and  hip, — 

Ten  feet  they  measured  from  tip  to  tip ! 

And  a  helm  had  he,  but  that  he  wore, 

Not  on  his  head,  like  those  of  yore, 

But  more  like  the  helm  of  a  ship. 

13.  " Hush !"  Reuben  said,  "he's  up  in  the  shedi 
He's  open'd  the  winder, — I  see  his  head ! 

He  stretches  it  out,  an'  pokes  it  about, 
Lookin'  to  see  ">f  the  coast  is  clear, 

An'  nobody  near; — 
Guess  he  don'o'  who's  hid  in  here ! 


13i  Science  of  Elocution. 

He's  riggin'  a  spring-board  over  the  sill ! 

Stop  laffin',  Solomon !    Burke,  keep  still ! 

He's  a  clim'in'  out  now — Of  all  the  things ! 

What's  he  got  on?    I  van,  it's  wings! 

An'  that  t'other  thing?    I  vum,  it's  a  tail! 

"An'  there  he  sets  like  a  hawk  on  a  rail ! 

Steppin'  careful,  he  travels  the  length 

Of  his  spring-board,  an'  teeters  to  try  its  strength, 

Now  he  stretches  his  wings,  like  a  monstrous  bat : 

Peeks  over  his  shoulder,  this  way  an'  that, 

Fur  to  see  'f  the'  's  any  one  passin'  by, 

But  the'  's  on'y  ca'f  an'  a  goslin'  nigh. 

They  turn  up  at  him  wonderin'  eye, 

To  see — The  dragon !  he's  goin'  to  fly ! 

Away  he  goes !  Jimminy !  what  a  jump ! 

Flop — flop — an'  plump  to  the  ground  with  a  thump ! 

Flutt'rin'  an  flound'rin',  all'n  a  lump !  " 

14.  As  a  demon  is  hurl'd  by  an  angel's  spear, 
Heels  over  head,  to  his  proper  sphere, — 
Heels  over  head,  and  head  over  heels, 
Dizzily  down  the  abyss  he  wheels, 
So  fell  Darius.     Upon  his  crown, 
In  the  midst  of  the  barn-yard,  he  came  down, 
In  a  wonderful  whirl  of  tangled  strings, 
Broken  braces  and  broken  springs, 
Broken  tail  and  broken  wings, 
Shooting-stars  and  various  things, — 
Barn-yard  litter  of  straw  and  chaff. 
Away  with  a  bellow  fled  the  calf, 
And  what  was  that?    Did  the  gosling  laugh? 
'Tis  a  merry  roar  from  the  old  barn-door, 
And  he  hears  the  voice  of  Jotham  crying: 
"  Say,  D'rius!  how  do  you  like  flyin'? " 
Slowly,  ruefully,  where  he  lay, 
Darius  just  turn'd  and  look'd  that  way, 
As  he  stanch'd  his  sorrowful  nose  with  his  cuff. 
"  Wal,  I  like  flyin'  well  enough," 
He  said;  "  but  the'  aint  sich  a  thunderin'  sight 
O'  fun  in't  when  ye  come  to  light. " 


Nasal,  Expulsive   Form.  135 

I  just  have  room  for  the  moral  here : 

And  this  is  the  moral, — Stick  to  your  sphere; 

Or,  if  you  insist,  as  you  have  the  right, 

On  spreading  your  wings  for  a  loftier  flight, 

The  moral  is, — Take  care  how  you  light. 


Questions. 

1.  Define  Nasal  Quality. 

2.  Why  is  it  presented  only  in  one  form  ? 

3.  What  Form  and  Quality  do  the  other  parts  require  ? 

4.  Why  does  the  impersonation  require  Nasal  Quality  ? 


LESSON  XXV. 

In  this  and  the  following  lessons  "  Exercises  in  Po- 
sition, Breathing,  and  Gesture"  will  be  omitted,  but 
they  should  be  practiced,  if  not  daily,  at  least  three 
times  a  week. 

Exercises  in  Articulation. 
th,  as  in  this, 
thence,  their,  than, 

breathe,  beneath,         wreathe. 

1.  Wreathe  flowers  for  the  valiant  dead. 

2.  Breathes  there  a  man  with  soul  so  dead  ? 

3.  This  is  the  place,  the  center  of  the  grove. 

4.  Thou  breathest,  silent  the  submissive  waves. 

5.  Beneath  those  rugged  elms,  that  yew-tree's  shade. 


136  Science  of  Elocution. 

FORCE  OF  VOICE. 

Force  is  the  degree  of  intensity  with  which  sound  is 
sent  forth  from  the  vocal  organs. 

Volume  and  loudness,  though  not  identical  with  force, 
are  dependent  upon  it.  A  full  volume  is  produced  by- 
energetic  or  impassioned  force  with  Pure  Tone,  or  Oro- 
tund Quality  in  all  forms;  great  loudness  by  impassioned 
force,  Pure  Tone,  or  Orotund,  High  Pitch,  and  in  all 
forms. 

No  amount  of  force  can  give  great  volume  or  loud- 
ness to  Aspirate  Quality  in  any  of  its  forms. 

Volume  relates  to  the  amount  of  space  filled  with  the 
sound;  loudness  to  the  distance  at  which  a  sound  can  be 
heard.  The  low,  deep  tones  of  the  organ  fill  a  vast 
space,  though  they  would  not  be  heard  at  a  long  dis- 
tance. The  high,  shrill  notes  of  the  fife  can  be  heard  at 
a  long  distance,  yet  they  do  not  have  great  volume  of 
sound. 

Force  may  be  divided  into  Subdued,  Moderate,  En- 
ergetic, and  Impassioned. 

These  may  again  be  subdivided  at  pleasure. 

For  convenience  three  subdivisions  will  be  given 
under  each  general  division,  though  they  may  be  in- 
creased indefinitely. 

Advantages  of  Force. 

Perfect  command  of  every  degree  of  force  is  indis 
pensable  to  excellence  in  expression. 

In  the  expression  of  pathos,  the  force  must  be  re- 
duced to  Subdued ;  in  the  utterance  of  bold  and  lofty 
thought,  it  rises  to  Impassioned;  in  the  delivery  of  di- 
dactic thought,  it  is  pleasingly  modulated  to  Moderate; 
speaking  in  a  small  room,  the  degree  of  force  should  be 


Subdued  Force.  137 

so  modulated  as  not  to  be  painful  to  the  hearers;  ad- 
dressing a  vast  assembly  in  the  open  air,  the  voice 
should  be  perfectly  audible  to  the  most  distant  hearer; 
speaking  under  the  influence  of  strong  excitement,  the 
intensity  of  feeling  should  not  hinder  utterance,  nor 
degenerate  into  ranting  and  vociferation. 

Such  are  some  of  the  advantages  of  perfect  command 
of  Force  of  Voice. 

Exercises  for  cultivating  Force  of  Voice  will  be  pre- 
sented with  the  lessons  on  the  different  divisions. 

Subdued  Force. 

Subdued  is  that  degree  of  Force  which  ranges  from 
the  slightest  sound  which  can  be  uttered  in  Pure  Tone  to 
the  milder  tones  of  ordinary  conversation.  To  cultivate 
Subdued  Force  repeat  each  of  the  following  elements, 
words,  and  sentences  three  times,  beginning  with  the 
most  subdued  sound  that  can  be  uttered  in  Pure  Tone, 
Effusive  Form,  increasing  the  force  with  each  repeti- 
tion, but  retaining  as  nearly  as  possible  the  same  pitch. 
After  practicing  for  a  few  minutes  on  one  pitch,  change 
to  a  key  two  or  three  notes  lower  or  higher. 

DIAGRAM 

OF 

SUBDUED  FORCE. 


•  •  t 

EXERCISES 
or  cultivating  Subdued  Force. 
1.  a,  as  heard  in  age. 


2. 

o, 

a 

U 

old. 

3. 

e, 

(t 

it 

me. 

4. 

h 

u 

t( 

ice. 

138  Science  of  Elocution. 

orb,  arm,  low, 

soft,  hopes,  sleep. 

1.  With  lowly  reverence  bow. 

2.  Tread  softly;  bow  the  head. 

3.  O  change!  O  wondrous  change  ! 

EXERCISES 
Combining  Form,  Quality,  and  Subdued  Force. 
Repeat  each  of  the  above  sounds,  words,  and  senten- 
ces with 

1.  Effusive  Form,  Aspirate  Quality,  Subdued  Force. 
(First  Degree.) 

2.  Effusive  Form,  Oral  Quality,  Subdued  Force. 
(Second  Degree.) 

3.  Effusive  Form,  Pure  Tone,  Subdued  Force. 
(Third  Degree.) 

Subdued  Foece — When  Used. 

Subdued  Force  is  appropriately  employed  chiefly  in 
the  expression  of  pathetic,  solemn,  serious,  and  tranquil 
thought. 

It  is  generally  used  in  connection  with  Pure  Tone, 
Effusive  Form,  but  may  be  given  with  Oral,  Aspirate, 
and  Falsetto  Qualities.  It  is  doubtful  whether  Orotund, 
Pectoral,  and  Guttural  can  be  given  with  Subdued 
Force,  as  a  greater  degree  of  force  than  Subdued  will 
be  required  to  produce  those  qualities. 

EXAMPLES :  SOLEMN  AND  PATHETIC. 

Subdued  Force,  Pure  Tone,  Effusive  Form. 

The  Death-Bed. 

THOMA8  HOOD. 

1.  We  watched  her  breathing  through  the  night, 
Her  breathing,  soft  and  low, 
As  in  her  breast  the  wave  of  life 
Kept  heaving  to  and  fro. 


Subdued  Force.  139 

2.  So  silently  we  seemed  to  speak, 

So  slowly  moved  about, 
As  we  had  lent  her  half  our  powers 
To  eke  her  living  out. 

3.  Our  very  hopes  belied  our  fears, 

Our  fears  our  hopes  belied ; 
We  thought  her  dying  when  she  slept, 
And  sleeping  when  she  died. 

4.  For  when  the  morn  came,  dim  and  sad, 

And  chill  with  early  showers, 
Her  quiet  eyelids  closed — she  had 
Another  morn  than  ours. 

The  Burial  of  Arnold. 

N.    P.   "WILLIS. 

1.  Ye've  gathered  to  your  place  of  prayer 

With  slow  and  measured  tread : 
Your  ranks  are  full,  your  mates  all  there ! 

But  the  soul  of  one  has  fled. 
He  was  the  proudest  in  his  strength, 

The  manliest  of  ye  all ; 
Why  lies  he  at  that  fearful  length, 

And  ye  around  his  pall  ? 

2.  Ye  reckon  it  in  days  since  he 

Strode  up  that  foot-worn  aisle, 
With  his  dark  eye  flashing  gloriously, 

And  his  lip  wreathed  with  a  smile. 
O  had  it  been  but  told  you  then 

To  mark  whose  lamp  was  dim, 
From  out  yon  rank  of  fresh-lipped  men, 

Would  ye  have  singled  him  ? 
3.  Whose  was  the  sinewy  arm  which  flung 

Defiance  to  the  ring  ? 
Whose  laugh  of  victory  loudest  rung 

Yet  not  for  glorying  ? 
Whose  heart,  in  generous  deed  and  thought, 

No  rivalry  might  brook, 
And  yet  distinction  claiming  not  ? 

There  lies  he — go  and  look ! 


140  Science  of  Elocution. 

4.  On  now,  his  requiem  is  done, 

The  last  deep  prayer  is  said ; 
On  to  his  burial,  comrades,  on, 

With  the  noblest  of  the  dead. 
Slow,  for  it  presses  heavily ; 

It  is  a  man  ye  bear! 
Slow,  for  our  thoughts  dwell  wearily 

On  the  noble  sleeper  there. 

5.  Tread  lightly,  comrades,  ye  have  laid 

His  dark  locks  on  his  brow ; 
Like  life,  save  deeper  light  and  shade, 

We'll  not  disturb  them  now. 
Tread  lightly,  for  'tis  beautiful, 

That  blue-veined  eyelid's  sleep, 
Hiding  the  eye  death  left  so  dull, 

Its  slumber  we  will  keep. 

6.  Rest  now,  his  journeying  is  done, 

Your  feet  are  on  his  sod ; 
Death's  chain  is  on  your  champion, 

He  waiteth  here  his  God. 
Ay,  turn  and  weep,  'tis  manliness 

To  be  heart-broken  here, 
For  the  grave  of  earth's  best  nobleness 

Is  watered  by  the  tear. 


Questions. 

1.  What  is  the  element  in  this  lesson  ? 

2.  Define  Force. 

3.  What  is  the  difference  between  Force  and  loudness  ? 

4.  Between  Force  and  volume  ? 

5.  What  combination  of  elements  will  produce  a  full  volume  ? 

6.  Will  the  same  combination  give  great  loudness  ? 

7.  What  combination  will  produce  loudness  ? 

8.  Can  great  loudness  be  produced  by  Impassioned  Force  and 

Aspirate  Quality  ? 

9.  What  does  volume  relate  to?      What  loudness? 
10.  Give  illustrations  of  each. 


Subdued  Force. 


141 


1.  What  are  the  general  divisions  of  Force? 

12.  How  many  subdivisions  are  given? 

13.  "Why  is  perfect  command  of  all  divisions  of  Force  important? 

14.  How  may  Force  of  Voice  be  acquired  ?    In  what  other  way  ? 

15.  In  practicing  exercises  in  Force,  what  is  important  with  refer- 

ence to  Pitch  ? 

16.  Define  Subdued  Force. 

17.  In  the  expression  of  what  styles  of  thought  and  feeling  will 

Subdued  Force  be  chiefly  employed  ? 

18.  With  what  qualities  of  voice? 

19.  Why  cannot  Orotund,  Pectoral,  and  Gutteral  be  given  with 

Subdued  Force? 

20.  With  what  Form  can  Subdued  Force  be  given  ? 

21.  Why  do  the  selections  require  Subdued  Force? 

22.  Why  Pure  Tone  ?    Why  Effusive  Form  ? 


DIAGRAM  OF   TWENTY-FIFTH  LESSON. 


1.  Exercises. 


f  Position. 
J  Gesture. 
1  Breathing. 
I  Articulation. 


2.  Element- 


f  Definition 
-Force.  -{  Divisions.  , 


f  Subdued. 
J  Moderate. 
I  Energetic. 
[  Illustrations.   [  Impassioned. 

'  Definition. 


3.  Topic— Subdued  Force. 


4.  Selections.     "  The  Death-Bed." 


Illustration. 
Advantages. 
■i  How  Acquired. 
Class  Exercises. 
Principle  or  When  Used. 
b  Examples. 

The  Burial  of  Arnold." 


142  Science  of  Elocution. 


LESSON"  XXVI. 

Exercises  in  Articulation. 

z,  as  in  zone. 

zeal,  rouse,  has, 

Zion,  zephyr,  was. 

1.  Rouse,  ye  Romans,  rouse  ! 

2.  The  zephyr  breathes  calmly. 

3.  Zion,  the  joy  of  all  the  earth. 

4.  He  hath  reached  the  zenith  of  his  glory. 

5.  The  zeal  of  thy  house  hath  eaten  me  up. 

moderate  Force. 

Moderate  is  the  degree  of  Force  ranging  from  the 
mild  to  the  more  earnest  conversational  tones.  To 
cultivate  the  Moderate  Force  practice  the  following 
sounds,  words,  and  elements,  repeating  each  six  times, 
beginning  with  the  most  Subdued  Force  and  gradually 
increasing,  but  retaining  the  pitch  with  which  each  is 
begun.  It  is  not  necessary  to  begin  each  separate  ex- 
ercise with  the  same  pitch,  but  simply  to  retain  the 
pitch  throughout  with  which  you  begin.  It  would  be 
well  to  vary  the  key  with  each  sound  or  word  or  sen- 
tence, so  as  to  widen  the  compass  of  voice  as  much 
as  possible.  The  primary  object  of  the  exercise  is  to 
increase  the  force  on  any  key  without  changing  the 
pitch.  Every  voice  should  have  power  to  increase  force 
at  pleasure  on  two  octaves  at  least. 

DIAGRAM 

OP 

SUBDUED  AND  MODERATE  FORCE. 


Moderate  Force.  143 


EXERCISES 

For  cultivating  Subdued  and  Moderate  Force. 

1.  a, 

as  heard  in  ale. 

2.  8, 

u          "    me. 

3.   I, 

"          "    ice. 

4.   6, 

"     old. 

on, 

stand,               lamb, 

awake, 

arise,                 rouse. 

1.  Rome  must  be  free. 

2.  Where  sleep  the  brave  ? 

3.  I  come  not  here  to  talk. 

EXERCISES 

Combining  Fcrm,  Quality,  and  Moderate  Force. 

Repeat  the  sounds,  words,  and  sentences  with 

1.  Effusive    Form,    Pure    Tone,    Moderate    Force. 
(First  Degree.) 

2.  Expulsive    Form,   Pure   Tone,    Moderate   Force. 
(Second  Degree.) 

3.  Effusive  Form,  Orotund,  Moderate  Force.    (Third 
Degree.) 

4.  Expulsive  Form,  Orotund,  Moderate  Force.   (Third 
Degree.) 

Moderate  Force — When  Used. 
Moderate  is  the  appropriate  degree  of  Force  com- 
bined with  Pure  Tone,  Expulsive  Form,  for  the  expres 
sion  of  narrative,  descriptive,  didactic,  imimpassioned 
thought;  combined  with  the  Orotund,  Effusive  Form, 
for  the  expression  of  the  milder  forms  of  sublimity, 
reverence,  devotion,  and  adoration ;  with  the  Orotund, 
Expulsive  Form,  for  introductory  and  unimpassioned 
parts  of  speeches,  sermons,  and  orations. 


144  Science  of  Elocution. 

example :  didactic  thought. 

Moderate  Force,  Pure  Tone,  Expulsive  Form. 

Modulation. 

LLOYD. 

1.  'Tis  not  enough  the  voice  be  sound  and  clear, 
'Tis  modulation  that  must  charm  the  ear. 
That  voice  all  modes  of  passion  can  express 
Which  marks  the  proper  word  with  proper  stress ; 
But  none  emphatic  can  that  speaker  call 

Who  lays  an  equal  emphasis  on  all. 
Some  o'er  the  tongue  the  labored  measures  roll, 
Slow  and  deliberate  as  the  parting  toll; 
Point  every  stop,  mark  every  pause  so  strong, 
Their  words,  like  stage  processions,  stalk  along. 

2.  All  affectation  but  creates  disgust, 

And  e'en  in  speaking  we  may  seem  too  just. 
In  vain  for  them  the  pleasing  measure  flows 
Whose  recitation  runs  it  all  to  prose; 
Repeating  what  the  poet  sets  not  down, 
The  verb  disjointing  from  its  favorite  noun, 
While  pause  and  break  and  repetition  join 
To  make  a  discord  in  each  tuneful  line. 

3.  Some  placid  natures  fill  the  allotted  scene 
With  lifeless  drawls,  insipid  and  serene ; 
While  others  thunder  every  couplet  o'er, 
And  almost  crack  your  ears  with  rant  and  roar 
More  nature  oft,  and  finer  strokes  are  shown 
In  the  low  whisper  than  tempestuous  tone; 
And  Hamlet's  hollow  voice  and  fixed  amaze 
More  powerful  terror  to  the  mind  conveys 
Than  he  who,  swollen  with  impetuous  rage, 
Bullies  the  balky  phantom  of  the  stage. 

4.  He  who  in  earnest  studies  o'er  his  part, 
Will  find  true  nature  cling  about  his  heart. 
The  modes  of  grief  are  not  included  all 

In  the  white  handkerchief  and  mournful  drawl ; 


Moderate  Force.  145 

A  single  look  more  marks  the  internal  woe 
Than  all  the  windings  of  the  lengthened  O ! 
Up  to  the  face  the  quick  sensation  flies, 
And  darts  its  meaning  from  the  speaking  eyes : 
Love,  transport,  madness,  anger,  scorn,  despair, 
And  all  the  passions  of  the  soul  are  there. 

EXAMPLE:  INTRODUCTORY  AND  UNTMPASSIONED. 

Moderate  Force,  Pure  Tone,  or  Orotund,  Expulsive  Form. 

Appeal  in  Behalf  of  Ireland. 

S.    S.    PRENTISS. 

1.  Fellow-citizens:  It  is  no  ordinary  cause  that  has  brought 
together  this  vast  assemblage  on  the  present  occasion.  We 
have  met,  not  to  prepare  ourselves  for  political  contests ;  we 
have  met,  not  to  celebrate  the  achievements  of  those  gallant 
men  who  have  planted  our  victorious  standards  in  the  heart  of 
an  enemy's  country;  we  have  assembled,  not  to  respond  to 
shouts  of  triumph  from  the  West ;  but  to  answer  the  cry  of 
want  and  suffering  which  comes  from  the  East.  The  Old 
World  stretches  out  her  arms  to  the  New.  The  starving  par- 
ent supplicates  the  young  and  vigorous  child  for  bread. 

2.  There  lies  upon  the  other  side  of  the  wide  Atlantic  a 
beautiful  island,  famous  in  story  and  in  song.  Its  area  is  not 
so  great  as  that  of  the  State  of  Louisiana,  while  its  population 
is  almost  half  that  of  the  Union.  It  has  given  to  the  world 
more  than  its  share  of  genius  and  of  greatness.  It  has  been 
prolific  in  statesmen,  warriors,  and  poets.  Its  brave  and  gen- 
erous sons  have  fought  successfully  all  battles  but  their  own. 
In  wit  and  humor  it  has  no  equal ;  while  its  harp,  like  its  his- 
tory, moves  to  tears  by  its  sweet  but  melancholy  pathos. 

3.  Into  this  fair  region  God.  has  seen  fit  to  send  the  most 
terrible  of  all  those  fearful  ministers  that  fulfill  his  inscrutable 
decrees.  The  earth  has  failed  to  give  her  increase.  The  com- 
mon mother  has  forgotten  her  offspring,  and  she  no  longer 
affords  them  their  accustomed  nourishment.  Famine,  gaunt 
and  ghastly  famine,  has  seized  a  nation  with  its  strangling 
grasp.  Unhappy  Ireland,  in  the  sad  woes  of  the  present,  for- 
gets, for  a  moment,  the  gloomy  history  of  the  past. 

10 


146  Science  of  Elocution. 

4.  O  it  is  terrible,  that  in  this  beautiful  world  which  the 
good  God  has  given  us,  and  in  which  there  is  plenty  for  us  all, 
men  should  die  of  starvation !  When  a  man  dies  of  disease  he 
alone  endures  the  pain.  Around  his  pillow  are  gathered  sym- 
pathizing friends,  who,  if  they  cannot  keep  back  the  deadly 
messenger,  cover  his  face  and  conceal  the  horrors  of  his  visage 
as  he  delivers  his  stern  mandate.  In  battle,  in  the  fullness  of 
his  pride  and  strength,  little  recks  the  soldier  whether  the 
hissing  bullet  sings  his  sudden  requiem,  or  the  cords  of  life 
are  severed  by  the  sharp  steel. 

5.  But  he  who  dies  of  hunger  wrestles  alone,  day  by  day, 
with  his  grim  and  relentless  enemy.  He  has  no  friends  to 
cheer  him  in  the  terrible  conflict ;  for  if  he  had  friends,  how 
could  he  die  of  hunger?  He  has  not  the  hot  blood  of  the  sol- 
dier to  maintain  him ;  for  his  foe,  vampire-like,  has  exhausted 
his  veins.  Famine  comes  not  up,  like  a  brave  enemy,  storming, 
by  a  sudden  onset,  the  fortress  that  resists.  Famine  besieges. 
He  draws  his  lines  round  the  doomed  garrison.  He  cuts  off  all 
supplies.  He  never  summons  to  surrender,  for  he  gives  no 
quarter. 

6.  Alas,  for  poor  human  nature!  how  can  it  sustain  this 
fearful  warfare?  Day  by  day  the  blood  recedes,  the  flesh  de- 
serts, the  muscles  relax,  and  the  sinews  grow  powerless.  At 
last  the  mind,  which  at  first  had  bravely  nerved  itself  against 
the  contest,  gives  way  under  the  mysterious  influences  which 
govern  its  union  with  the  body.  Then  the  victim  begins  to 
doubt  the  existence  of  an  overruling  Providence.  He  hates 
his  fellow-men,  and  glares  upon  them  with  the  longing  of  a 
cannibal ;  and,  it  may  be,  dies  blaspheming. 

7.  This  is  one  of  those  cases  in  which  we  may  without  im- 
piety assume,  as  it  were,  the  function  of  Providence.  Who 
knows  but  that  one  of  the  very  objects  of  this  calamity  is  to 
test  the  benevolence  and  worthiness  of  us  upon  whom  unlim- 
ited abundance  is  showered?  In  the  name,  then,  of  common 
humanity,  I  invoke  your  aid  in  behalf  of  starving  Ireland.  He 
who  is  able,  and  will  not  aid  such  a  cause,  is  not  a  man,  and 
has  no  right  to  wear  the  form.  He  should  be  sent  back  to 
Nature's  mint,  and  re-issued  as  a  counterfeit  on  humanity  of 
Nature's  baser  metal. 


Moderate  Fokce.  14/7 

example  :  kevebence  and  devotion. 

Moderate  Force,  Orotund  Quality,  Effusive  Form. 

God  the  True  Source  of  Consolation. 

THOMAS   MOORE. 

1.  O  Thou  who  driest  the  mourner's  tear, 

How  dark  this  world  would  be, 
If,  when  deceived  and  wounded  here, 
We  could  not  fly  to  thee ! 

2.  The  friends  who  in  our  sunshine  live 

When  winter  comes,  are  flown ; 
And  he  who  has  but  tears  to  give 
Must  weep  those  tears  alone. 

3.  But  thou  wilt  heal  the  broken  heart, 

Which,  like  the  plants  that  throw 
Their  fragrance  from  the  wounded  part, 
Breathes  sweetness  out  of  woe. 

4.  When  joy  no  longer  soothes  or  cheers, 

And  e'en  the  hope  that  threw 

A  moment's  sparkle  o'er  our  tears, 

Is  dimmed  and  vanished  too, 

5.  O  who  could  bear  life's  stormy  doom, 

Did  not  thy  wing  of  love 
Come  brightly  wafting  through  the  gloom, 
Our  peace-branch  from  above ! 

6.  Then  sorrow,  touched  by  thee,  grows  bright 

With  more  than  rapture's  ray ; 
As  darkness  shows  us  worlds  of  light 
We  never  saw  by  day. 


Questions. 

1.  What  is  the  topic  of  this  lesson  ? 

2.  Define  Moderate  Force. 

3.  Illustrate  it. 

4.  Illustrate  the  difference  between  Subdued  and  Moderate  Force. 


148  Science  of  Elocution. 

5.  Should  the  exercises  in  Force  be  practiced  always  on  the  same 

pitch? 

6.  Explain  and  illustrate  how  the  pitch  should  be  varied. 

7.  When  is  Moderate  Force  combined  with  Pure  Tone,  Expulsive 

Form,  appropriately  employed  ? 

8.  When  with  Effusive  Form,  Orotund  ? 

9.  When  with  Expulsive  Form,  Orotund? 


DIAGRAM  OF  TWENTY-SIXTH  LESSON. 


1.  Exercises J   £estu,re- 

I    Breathm 


2.  Review  Last  Lesson. 

3.  Element — Force. 


Position. 
Gesture. 
Breathin 
Articulation. 


4.  Topic — Moderate  Force. 


Definition. 

Illustration. 

Advantages. 

How  Acquired. 

Class  Exercises. 

Principles  or  when  used. 

Examples. 

5.  Selections.    "  Modulation."  "  Appeal  in  Behalf  of  Ireland."  "Gcd 
the  True  Source  of  Consolation." 


LESSOJST    XXVII. 

Exercises  in  Articulation. 
zh,  as  in  azure, 
pleasure,  seizure,  erasure 

treasure,  composure. 

1.  The  measure  of  man  is  mind. 

2.  Your  pleasure  shall  be  the  law. 

3.  The  treasures  of  the  universe  are  his. 

4.  Not  like  those  steps  on  heaven's  azure. 

5.  The  seizure  was  made  according  to  law. 


Energetic  Force.  149 

Energetic  Force. 

Energetic  is  that  degree  of  Force  heard  in  bold,  ear- 
nest, excited  conversation. 

Practice  the  following  exercises,  repeating  each 
sound,  word,  and  sentence  nine  times,  increasing  the 
force  with  each  repetition,  but  retaining  the  same  pitch 
with  which  each  is  begun. 

DIAGRAM 

OF 

SUBDUED,  MODERATE,  AND  ENERGETIC 
FORCE. 

EXERCISES 
For  Cultivating  Subdued,  Moderate,  and  Energetic  Force. 

1.  a,  as  heard  in  ask. 

2.  a,      "        "     add. 


3.  6, 

a            a 

on. 

4.  u, 

(i           a 

up. 

sad, 

lend, 

> 

never, 

dissever. 

ask, 
over, 

1.  The  war  must  go  on. 

2.  Rouse,  ye  Romans,  rouse ! 

3.  Forward  the  Light  Brigade. 

EXERCISES 
Combining  Form,  Quality,  Subdued,  Moderate,  and  Energetic  Force. 
Repeat  each  of  the  above  sentences  with 

1.  Effusive  Form,  Pure  Tone,  Subdued  Force. 

2.  Effusive  Form,  Pure  Tone,  Moderate  Force. 

3.  Effusive  Form,  Aspirate,  Subdued  Force. 

4.  Effusive  Form,  Orotund,  Moderate  Force. 

5.  Expulsive  Form,  Pure  Tone,  Moderate  Force. 


150  Science  of  Elocution. 

6.  Expulsive  Form,  Aspirate,  Moderate  Force. 

7.  Expulsive  Form,  Orotund,  Moderate  Force. 

8.  Effusive  Form,  Orotund,  Energetic  Force. 

9.  Expulsive  Form,  Pure  Tone,  Energetic  Force. 

10.  Expulsive  Form,  Aspirate,  Energetic  Force. 

11.  Expulsive  Form,  Orotund,  Energetic  Force. 

12.  Explosive  Form,  Pure  Tone,  Energetic  Force. 

Energetic  Force — When  Used. 

The  Energetic  is  the  appropriate  degree  of  Force, 
combined  with  Orotund,  Effusive  Form,  for  the  expres- 
sion of  profound  sublimity,  grandeur,  reverence,  adora- 
tion, and  devotion;  with  Pure  Tone,  Expulsive  and 
Explosive  Forms,  for  the  expression  of  Joy,  gladness,  and 
mirth  ;  with  Orotund,  Expulsive  Form,  for  the  delivery 
of  strong,  forcible,  argumentative,  senatorial,  political, 
and  judicial  speeches,  orations,  and  sermons. 

In  the  following  selection  the  passages  expressing 
sublimity,  grandeur,  and  awe  require  a  blending  of  the 
Orotund  and  Aspirate. 

EXAMPLE :  DEEP  SOLEMNITY,  SUBLIMITY,  AND  AWE. 

Energetic  Force,   Orotund  and  Aspirate,  Effusive  Form. 

The  Closing  Year. 

PRENTICE. 

1.  'Tis  midnight's  holy  hour,  and  silence  now 
Is  brooding,  like  a  gentle  spirit,  o'er 
The  still  and  pulseless  world.     Hark !  on  the  winds 
The  bell's  deep  tones  are  swelling — 'tis  the  knell 
Of  the  departed  year.     No  funeral  train 
Is  sweeping  past ;  yet,  on  the  stream  and  wood, 
"With  melancholy  light,  the  moonbeams  rest 
Like  a  pale,  spotless  shroud ;  the  air  is  stirred 
As  by  a  mourner's  sigh;  and  on  yon  cloud, 
That  floats  so  still  and  placidly  through  heaven, 
The  spirits  of  the  seasons  seem  to  stand, 


Energetic  Force.  151 

Young  Spring,  bright  Summer,  Autumn's  solemn  form, 

And  Winter,  with  his  aged  locks,  and  breathe, 

In  mournful  cadences,  that  come  abroad 

Like  the  far  wind-harp's  wild  and  touching  wail, 

A  melancholy  dirge  o'er  the  dead  year, 

Gone  from  the  earth  forever. 

2.  Tis  a  time 
For  memory  and  for  tears.     Within  the  deep, 
Still  chambers  of  the  heart,  a  specter  dim, 
Whose  tones  are  like  the  wizard  voice  of  Time, 
Heard  from  the  tomb  of  ages,  points  its  cold 
And  solemn  finger  to  the  beautiful 

And  holy  visions  that  have  passed  away, 

And  left  no  shadow  of  their  loveliness 

On  the  dead  waste  of  life.     That  specter  lifts 

The  coffin-lid  of  Hope  and  Love 

And,  bending  mournfully  above  the  pale, 

Sweet  forms,  that  slumber  there,  scatters  dead  flowers 

O'er  what  has  passed  to  nothingness. 

3.  The  year 

Has  gone,  and  with  it  many  a  glorious  throng 
Of  happy  dreams.     Its  mark  is  on  each  brow, 
Its  shadow  in  each  heart.     In  its  swift  course 
It  waved  its  scepter  o'er  the  beautiful — 
And  they  are  not.     It  laid  its  pallid  hand 
Upon  the  strong  man — and  the  haughty  form 
Is  fallen,  and  the  flashing  eye  is  dim. 
It  trod  the  hall  of  revelry,  where  thronged 
The  bright  and  joyous — and  the  tearful  wail 
Of  stricken  ones  is  heard,  where  erst  the  song 
And  reckless  shouts  resounded. 

4.  It  passed  o'er 

The  battle-plain,  where  sword  and  spear  and  shield 
Flashed  in  the  light  of  midday — and  the  strength 
Of  serried  hosts  is  shivered,  and  the  grass, 
Green  from  the  soil  of  carnage,  waves  above 
The  crushed  and  moldering  skeleton.     It  came, 
And  faded  like  a  wreath  of  mist  at  eve ; 


152  Science  of  Elocution. 

Yet,  ere  it  melted  in  the  viewless  air, 
It  heralded  its  millions  to  their  home 
In  the  dim  land  of  dreams. 


5.  Remorseless  Time ! 
Fierce  spirit  of  the  glass  and  scythe!  what  power 
Can  stay  him  in  his  silent  course,  or  melt 

His  iron  heart  to  pity?     On,  still  on 

He  presses,  and  forever.     The  proud  bird, 

The  condor  of  the  Andes,  that  can  soar 

Through  heaven's  unfathomable  depths,  or  brave 

The  fury  of  the  northern  hurricane, 

And  bathe  his  plumage  in  the  thunder's  home, 

Furls  his  broad  wings  at  night-fall,  and  sinks  down 

To  rest  upon  his  mountain  crag;  but  Time 

Knows  not  the  weight  of  sleep  or  weariness, 

And  night's  deep  darkness  has  no  chain  to  bind 

His  rushing  pinions. 

6.  Revolutions  sweep 
O'er  earth,  like  troubled  visions  o'er  the  breast 
Of  dreaming  sorrow ;  cities  rise  and  sink, 

Like  bubbles  on  the  water;  fiery  isles 
Spring  blazing  from  the  ocean,  and  go  back 
To  their  mysterious  caverns ;  mountains  rear 
To  heaven  their  bald  and  blackened  cliffs,  and  bow 
Their  tall  heads  to  the  plain;  new  empires  rise, 
Gathering  the  strength  of  hoary  centuries, 
And  rush  down  like  the  Alpine  avalanche, 
Startling  the  nations,  and  the  very  stars, 
Yon  bright  and  burning  blazonry  of  God, 
Glitter  awhile  in  their  eternal  depths, 
And  like  the  Pleiad,  loveliest  of  their  train, 
Shoot  from  the  glorious  spheres,  and  pass  away, 
To  darkle  in  their  glorious  spheres,  and  pass  away. 
Time,  the  tomb-builder,  holds  his  fierce  career, 
Dark,  stern,  all-pitless,  and  pauses  not 
Amid  the  mighty  wrecks  that  strew  his  path, 
To  sit  and  muse,  like  other  conquerors, 
Upon  the  fearful  ruin  he  has  wrought. 


Eneegetic  Force.  153 

example :  joy  and  gladness. 

Energetic  Force,  Pure  Tone,  Expulsive  and  Explosive  Forms. 

Spring. 

BRYANT- 

1.  Is  this  a  time  to  be  gloomy  and  sad, 

When  our  mother  Nature  laughs  around. 
When  even  the  deep  blue  heavens  look  glad, 
And  gladness  breathes  from  the  blossoming  ground? 

2.  The  clouds  are  at  play  in  the  azure  space, 

And  their  shadows  at  play  on  the  bright  green  vale ; 
And  here  they  stretch  to  the  frolic  chase, 
And  there  they  roll  on  the  easy  gale. 

3.  And  looked  at  the  broad-faced  sun,  how  he  smiles 

On  the  dewy  earth  that  smiles  on  his  ray, 
On  the  leaping  waters  and  gay  young  isles ; 
Ay,  look,  and  he'll  smile  thy  gloom  away. 

EXAMPLE :  ARGUMENTATIVE  AND  ORATORICAL. 

Energetic  Force,  Orotund  Quality,  Expulsive  Form. 

Responsibilities  of  our  Republic. 

JOSEPH   STORY. 

1.  The  old  world  has  already  revealed  to  us,  in  its  unsealed 
books,  the  beginning  and  end  of  all  its  own  marvelous  strug- 
gles in  the  cause  of  liberty.  Greece,  lovely  Greece,  "the 
land  of  scholars  and  the  nurse  of  arms,"  where  sister  republics 
in  fair  procession  chanted  the  praises  of  liberty  and  the  gods, 
where  and  what  is  she  ?  For  two  thousand  years  the  oppres- 
sion has  bound  her  to  the  earth.  Her  arts  are  no  more.  The 
last  sad  relics  of  her  temples  are  but  the  barracks  of  a  ruthless 
soldiery;  the  fragments  of  her  columns  and  her  palaces  are  in 
the  dust,  yet  beautiful  in  ruin.  She  fell  not  when  the  mighty 
were  upon  her.  Her  sons  were  united  at  Thermopylae  and 
Marathon,  and  the  tide  of  her  triumph  rolled  back  upon  the 
Hellespont.  She  was  conquered  by  her  own  factions.  She  fell 
by  the  hands  of  her  own  people.  The  man  of  Macedonia  did 
not  the  work  of  destruction.  It  was  already  done,  by  her  own 
corruptions,  banishments,  and  dissensions. 


154  Science  of  Elocution. 

2.  Rome,  republican  Rome,  whose  eagles  glanced  in  the  ris- 
ing and  setting  sun,  where  and  what  is  she  ?  The  Eternal 
City  yet  remains,  proud  even  in  her  desolation,  noble  in  her 
decline,  venerable  in  the  majesty  of  religion,  and  calm  as  in 
the  composure  of  death.  The  malaria  has  but  traveled  in  the 
patlr  worn  by  her  destroyers.  More  than  eighteen  centuries 
have  mourned  over  the  loss  of  her  empire.  A  mortal  disease 
was  upon  her  vitals  before  Csesar  had  crossed  the  Rubicon. 
The  Goths  and  Vandals  and  Huns,  the  swarms  of  the  North, 
completed  only  what  was  already  begun  at  home.  Romans 
betrayed  Rome.  The  legions  were  bought  and  sold,  but  the 
people  offered  the  tribute-money.  When  we  reflect  on  what 
has  been  and  is,  how  is  it  possible  not  to  feel  a  profound  sense 
of  the  responsibleness  of  this  republic  to  all  future  ages! 
What  vast  motives  press  upon  us  for  lofty  efforts!  What 
brilliant  prospects  invite  our  enthusiasm !  What  solemn  warn- 
ings at  once  demand  our  vigilance  and  moderate  our  confidence ! 


Questions. 

1.  Define  Energetic  Force. 

2.  When  combined  with  Orotund,  Effusive  Form,  what  styles  of 

thought  and  feeling  may  be  appropriately  expressed? 

3.  What,  when  combined  with  Pure  Tone,  Expulsive  and  Explosive? 

4.  What,  when  wilh  Orotund,  Expulsive  Form  ? 

5.  With  what  other  Qualities  and  Forms  may  it  be  combined  ? 

DIAGRAM  OF  TWENTY-SEVENTH  LESSON. 

(  Position. 
,    __  J  Gesture. 

1.  Exercises 1  Breathing. 

(_  Articulation. 

2.  Review  Last  Lesson. 

3.  Element— Force. 

"Definition. 
Illustration. 
Advantages. 
How  Acquired. 
Class  Exercise. 
When  Used. 
b  Example. 
Selections.    "  Closing  year."    "  Spring."  "  Responsibilities  of  our 
Republic." 


4.  Topic— Energetic  Force. 


Impassioned   Force.  155 


LESSON     XXVIII. 

Exercises  in  Articulation. 

1,  as  in  lo. 
loud,  long,  leave, 

land,  lend,  fall. 

1.  Lo,  the  poor  Indian! 

2.  Little  lads  looking  about. 

3.  Learned  lads  like  long  lessons. 

4.  Leaves  have  their  time  to  fall. 

5.  Leave  me,  leave  me  to  die  alone. 

Impassioned  Force. 

Impassioned  is  the  degree  of  Force  heard  in  the  ex- 
pression of  violent  and  impetuous  emotion. 

To  cultivate  Impassioned  Force  repeat  each  of  the 
elements,  words,  and  sentences  twelve  times,  beginning 
with  the  mildest  sound  that  can  be  given  in  Effusive 
Form,  Pure  Tone,  Subdued  Force,  and  gradually  in- 
creasing with  each  repetition,  retaining  the  same  pitch 
as  nearly  as  possible. 

DIAGRAM 

OF 

SUBDUED,  MODERATE,  ENERGETIC,  AND  IM- 
PASSIONED FORCE. 


•  MM 


EXERCISES 
For  cultivating  Impassioned  Force. 

1.  o,  as  in  old. 

2.  I,      "     ice. 

3.  ii,      "     use. 

4.  e,      "    me. 


156  Science  of  Elocution. 

arm,  down,  stand, 

slaves,  forward,        liberty. 

1.  Come  over,  come  over  the  river  to  me. 

2.  Hang  out  our  banners  on  the  outer  walls. 

EXERCISES 

Combining  Form,  Quality,  Subdued,  and  Impassioned  Force. 

Repeat  each  of  the  above  sounds,  words,  and  sen- 
tences with 

1.  Effusive  Form,  Pure  Tone,  Subdued  Force. 

2.  Expulsive  Form,  Orotund,  Impassioned  Force. 

3.  Effusive  Form,  Aspirate,  Subdued  Force. 

4.  Explosive  Form,  Pure  Tone,  Impassioned  Force. 

5.  Effusive  Form,  Oral  Quality,  Subdued  Force. 

6.  Expulsive  Form,  Falsetto,  Impassioned  Force. 

Impassioned  Force — When  Used. 
Impassioned,  when  combined  with  Pure  Tone  or  Oro- 
tund, Effusive  or  Expulsive  Form,  is  the  degree  of 
force  appropriate  for  calling  and  commanding ;  with 
the  Orotund,  Expulsive  and  Explosive  Forms,  it  is  em- 
ployed in  the  utterance  of  rousing  and  exciting  appeals  ; 
with  the  Aspirate,  Pectoral,  and  Guttural,  Expulsive 
and  Explosive  Forms,  in  the  expression  of  fear,  anger \ 
threatening,  scorn,  defiance,  revenge,  etc. 

EXAMPLE :  CALLING  AND  SHOUTING. 

Impassioned  Force,  Pure  Tone  or  Orotund,  Expulsive  Form. 

Tell's  Address  to  the  Alps. 

J.    S.    KNOWLES. 

Ye  crags  and  peaks,  I'm  with  you  once  again ! 
I  hold  to  you  the  hands  you  first  beheld, 
To  show  they  still  are  free.     Methinks  I  hear 
A  spirit  in  your  echoes  answer  me, 


Impassioned   Force.  157 

And  bid  your  tenant  welcome  to  his  home 
Again.     O  sacred  forms,  how  proud  you  look ! 
How  high  you  lift  your  heads  into  the  sky ! 
How  huge  you  are  !  how  mighty,  and  how  free ! 
Ye  are  things  that  tower,  that  shine,  whose  smile 
Makes  glad,  whose  frown  is  terrible,  whose  forms, 
Robed  or  unrobed,  do  all  the  impress  wear 
Of  awe  divine.     Ye  guards  of  liberty, 
I'm  with  you  once  again !     I  call  to  you 
With  all  my  voice !     I  hold  my  hands  to  you, 
To  show  they  still  are  free.     I  rush  to  you 
As  though  I  could  embrace  you. 


EXAMPLE :  FEAR,  EARNEST  APPEAL,  ANGER,  THREAT- 
ENING,  SCORN,  AND  DEFIANCE. 

Impassioned  Force,  Pure  Tone,  Orotund,  Aspirate  and  Pectoral  Qualities. 
Expulsive  and  Explosive  Forms. 

The  Polish  Boy. 

MRS.    ANN   S.    STEPHENS. 

1.  Whence  came  those  shrieks,  so  wild  and  shrill, 

That  like  an  arrow  cleave  the  air, 
Causing  the  blood  to  creep  and  thrill 

With  such  sharp  cadence  of  despair  ? 
Once  more  they  come !  as  if  a  heart 

Were  cleft  in  twain  by  one  quick  blow, 
And  every  string  had  voice  apart 

To  utter  its  peculiar  woe ! 

2.  Whence  came  they  ?    From  yon  temple,  where 
An  altar  raised  for  private  prayer, 

Now  forms  the  warrior's  marble  bed, 
Who  Warsaw's  gallant  armies  led. 
The  dim  funereal  tapers  threw 
A  holy  luster  o'er  his  brow, 
And  burnish  with  their  rays  of  light 
The  mass  of  curls  that  gather  bright 
Above  the  haughty  brow  and  eye 
Of  a  young  boy  that's  kneeling  by. 


158  Science  of  Elocution. 

3.  What  hand  is  that  whose  icy  press 

Clings  to  the  dead  with  death's  own  grasp, 
But  meets  no  answering  caress — 

No  thrilling  fingers  seek  its  clasp  ? 
It  is  the  hand  of  her  whose  cry 

Rang  wildly  late  upon  the  air, 
When  the  dead  warrior  met  her  eye, 

Outstretched  upon  the  altar  there. 

4.  Now  with  white  lips  and  broken  moan 
She  sinks  beside  the  altar  stone ; 

But  hark !  the  heavy  tramp  of  feet 

Is  heard  along  the  gloomy  street. 

Nearer  and  nearer  yet  they  come, 

With  clanking  arms  and  noiseless  drum. 

They  leave  the  pavement.     Flowers  that  spread 

Their  beauties  by  the  path  they  tread, 

Are  crushed  and  broken.     Crimson  hands 

Rend  brutally  their  blooming  bands. 

Now  whispered  curses,  low  and  deep, 

Around  the  holy  temple  creep. 

The  gate  is  burst.     A  ruffian  band 

Rush  in  and  savagely  demand, 

With  brutal  voice  and  oath  profane, 

The  startled  boy  for  exile's  chain. 

5.  The  mother  sprang  with  gesture  wild, 
And  to  her  bosom  snatched  the  child ; 
Then  with  pale  cheek  and  flashing  eye, 
Shouted  with  fearful  energy — 

"Back,  ruffians,  back!  nor  dare  to  tread 
Too  near  the  body  of  my  dead ! 
Nor  touch  the  living  boy — I  stand 
Between  him  and  your  lawless  band ! 
No  traitor  he.     But  listen  I    I 
Have  cursed  your  master's  tyranny. 
I  cheered  my  lord  to  join  the  band 
Of  those  who  swore  to  free  our  land, 
Or  fighting  die ;  and  when  he  pressed 
Me  for  the  last  time  to  his  breast, 


Impassioned  Force.  159, 

I  knew  that  soon  his  form  would  be 

Low  as  it  is,  or  Poland  free. 

He  went  and  grappled  with  the  foe, 

Laid  many  a  haughty  Russian  low ; 

But  he  is  dead — the  good — the  brave — 

And  I,  his  wife,  am  worse — a  slave ! 

Take  me,  and  bind  these  arms,  these  hands, 

With  Russia's  heaviest  iron  bands, 

And  drag  me  to  Siberia's  wild 

To  perish,  if  'twill  save  my  child ! " 


6.  "Peace,  woman,  peace!"  the  leader  cried, 
Tearing  the  pale  boy  from  her  side ; 

And  in  his  ruffian  grasp  he  bore 
His  victim  to  the  temple  door. 

7.  "One  moment!"  shrieked  the  mother,  "one. 
Can  land  or  gold  redeem  my  son? 

If  so,  I  bend  my  Polish  knee, 
And,  Russia,  ask  a  boon  of  thee. 
Take  palaces,  take  lands,  take  all, 
But  leave  him  free  from  Russian  thrall. 
Take  these,"  and  her  white  arms  and  hands 
She  stripped  of  rings  and  diamond  bands, 
And  tore  from  braids  of  long  black  hair 
The  gems  that  gleamed  like  star-light  there; 
Unclasped  the  brilliant  coronal 
And  carcanet  of  Orient  pearl ; 
Her  cross  of  blazing  rubies  last 
Down  to  the  Russian's  feet  she  cast. 

8.  He  stooped  to  seize  the  glittering  store; 
Upspringing  from  the  marble  floor, 
The  mother  with  a  cry  of  joy 
Snatched  to  her  leaping  heart  the  boy! 
But  no — the  Russian's  iron  grasp 
Again  undid  the  mother's  clasp. 
Forward  she  fell,  with  one  long  cry 

Of  more  than  mother's  agony. 


160  Science  of  Elocution. 

9.  But  the  brave  child  is  roused  at  length, 
And  breaking  from  the  Russian's  hold, 
He  stands,  a  giant  in  the  strength 
Of  his  young  spirit,  fierce  and  bold. 

10.  Proudly  he  towers ;  his  flashing  eye, 

So  blue  and  fiercely  bright, 
Seems  lighted  from  the  eternal  sky, 

So  brilliant  is  its  light. 
His  curling  lips  and  crimson  cheeks 
Foretell  the  thought  before  he  speaks. 
With  a  full  voice  of  proud  command 
He  turns  upon  the  wondering  band. 

11.  "  Ye  hold  me  not!  no,  no,  nor  can; 
This  hour  has  made  the  boy  a  man. 
The  world  shall  witness  that  one  soul 
Fears  not  to  prove  itself  a  Pole. 

12.  "I  knelt  beside  my  slaughtered  sire, 
Nor  felt  one  throb  of  vengeful  ire ; 

I  wept  upon  his  marble  brow — 

Yes,  wept — I  was  a  child ;  but  now 

My  noble  mother  on  her  knee, 

Has  done  the  work  of  years  for  me. 

Although  in  this  small  tenement 

My  soul  is  cramped — unbowed,  unbent, 

I've  still  within  me  ample  power 

To  free  myself  this  very  hour. 

This  dagger  in  my  heart !  and  then, 

Where  is  your  boasted  power,  base  men? " 

He  drew  aside  his  broidered  vest, 

And  there,  like  slumbering  serpent's  crest, 

The  jeweled  haft  of  a  poniard  bright, 

Glittered  a  moment  on  the  sight. 

"Ha!  start  ye  back?    Fool!  coward!  knave! 

Think  ye  my  noble  father's  glave 

Could  drink  the  life-blood  of  a  slave? 

The  pearls  that  on  the  handle  flame 

Would  blush  to  rubies  in  their  shame ; 


Impassioned  Force.  161 

The  blade  would  quiver  in  thy  breast, 
Ashamed  of  such  ignoble  rest ! 
No ;  thus  I  rend  thy  tyrant's  chain, 
And  fling  him  back  a  boy's  disdain !  " 

13.  A  moment,  and  the  funeral  light 

Flashed  on  the  jeweled  weapon  bright; 
Another,  and  his  young  heart's  blood 
Leaped  to  the  floor  a  crimson  flood. 
Quick  to  his  mother's  side  he  sprang, 
And  on  the  air  his  clear  voice  rang — 
* '  Up,  mother,  up !     I'm  free !     I'm  free ! 
The  choice  was  death  or  slavery ; 
Up,  mother,  up !  look  on  my  face, 
I  only  wait  for  thy  embrace. 
One  last,  last  word — a  blessing,  one, 
To  prove  thou  knowest  what  I  have  done ; 
No  look !  no  word !     Canst  thou  not  feel 
My  warm  blood  o'er  thy  heart  congeal  ? 
Speak,  mother,  speak — lift  up  thy  head. 
What,  silent  still?    Then  thou  art  dead! 
Great  God,  I  thank  thee !    Mother,  I 
Rejoice  with  thee,  and  thus  to  die." 
Slowly  he  falls.     The  clustering  hair 
Rolls  back  and  leaves  that  forehead  bare. 
One  long,  deep  breath,  and  his  pale  head 
Lay  on  his  mother's  bosom}  dead. 


Questions. 

1.  Define  Impassioned  Force. 

2.  When  used  with  Pure  Tone  or  Orotund,  Expulsive  or  Effusive 

Form? 

3.  When,  with  Orotund,  Expulsive  and  Explosive  Forms  ? 

4.  When,  with  Aspirate,  Pectoral,  or  Guttural,  Expulsive  and  Ex- 

plosive Forms? 
11 


162 


Science  of  Elocution. 


DIAGRAM  OP  TWENTY-EIGHTH  LESSON. 

{Position. 
fSSU 
Articulation. 

2.  Review  Last  Lesson. 

3.  Element— Force. 

Definition. 
Illustration. 
Advantages. 
How  Acquired. 
Class  Exercises. 
When  Used. 
Example. 

5.  Selections.    "Tell's  Address  to  the  Alps."     "The  Polish  Boy." 


4.  Topic— Impassioned  Force. 


LESSON  XXIX. 

Exercises   in   Articulation. 


r,  as  in  row. 

roam, 

r, 

river, 

4 

5 

air. 


roast, 
near. 

1.  Real  riches  rise  from  within. 

2.  Robert  rebuked  Richard,  who  ran  roaring. 

3.  Round  the  rude  ring  the  ragged  rascal  ran. 
Rich,  ripe,  round  fruit  hung  round  the  room. 
Rough  and  rugged  rocks  rear  their  heads  high  in 


STRESS. 


Stress  is  the  application  of  the  force  of  the  voice  to 
the  different  parts  of  the  word  or  sound. 

The  divisions  of  Stress  are  Median,  Radical,  Final, 
Compound,  Thorough,  and  Intermittent. 


Median  Stress.  163 

median  Stress. 

Median  Stress  is  the  application  of  the  force  of  the 
voice  to  the  ?niddle  of  the  word  or  sound. 

It  is  a  gradual  increase  of  force  and  elevation  of 
pitch  through  the  concrete  movement  to  the  middle  of 
the  word,  and  then  as  gradual  a  diminution  and  lower- 
ing to  the  close.  Median  Stress  can  be  given  only  in 
connection  with  the  Effusive  Form. 

DIAGRAM 

OP 

MEDIAN  STRESS. 


Advantages  of  Median  Stress. 

The  Median  Stress  is  one  of  the  greatest  beauties  in 
expression.  It  prevents  the  drawling  and  lifeless  style 
so  prevalent  in  the  reading  of  the  Bible  and  the  Church 
service,  and  gives  a  most  impressive  beauty,  power, 
and  grandeur  to  the  utterance  of  pathos,  sublimity, 
reverence,  devotion,  and  adoration. 

Destitute  of  its  ennobling  effect,  the  reading  of  many 
passages  in  prose  and  poetry  sinks  into  a  monotonous 
and  tedious  utterance. 

Like  every  element,  it  must  be  judiciously  used.  Car- 
ried to  excess  it  becomes  a  fault.  The  habit  of  mouth- 
ing, so  prevalent  on  the  stage,  has  for  one  of  its  prin- 
cipal elements  an  excessive  Median  Stress. 

To  cultivate  this  Stress  practice  the  following  ele- 
ments, words,  and  sentences,  beginning  each  with  very 
subdued  force,  which  gradually  increase  in  force  and 
raise  in  pitch  to  the  middle,  and  then  as  gradually 
diminish  and  lower. 


164  Science  of  Elocution. 

Exercises  in  Median  Stress. 
1.  a,  as  heard  in  ale,  fate. 


2. 

a, 

u 

u 

arm,  far. 

3. 

a, 

a 

u 

ask,  grass. 

4. 

a, 

it 

(( 

all,  talk. 

5. 

6, 

(C 

tt 

old,  note. 

6. 

00, 

a 

ti 

moon,  food. 

tolls, 

old, 

arm,           father, 

palm, 

roll, 

prayer,      slow. 

1.  O,  a  wonderful  stream  is  the  river  Time. 

2.  Thou  hast  all  seasons  for  thy  own,  O  Death. 

3.  O  thou  that  rollest  above,  round  as  the  shield  of 
my  father. 

EXERCISES 

Combining  Form,  Quality,  Force,  and  Median  Stress. 

Repeat  each  of  the  above  sentences  with 

1.  Effusive  Form,  Pure  Tone,  Subdued  Force,  Me- 
dian Stress. 

2.  Effusive  Form,  Aspirate,  Moderate  Force,  Median 
Stress. 

3.  Effusive  Form,  Orotund,  Moderate  Force,  Median 
Stress. 

Median  Stress — When  Used. 
Median  is  the  appropriate  stress  for  the  utterance  of 
pathos,  solemnity,  sublimity,  reverence,  grandeur,  and 
devotion.  It  is  heard  in  different  degrees,  varying  with 
the  depth  and  power  of  the  emotion.  Serious,  solemn, 
and  tranquil  thought  require  only  the  milder  forms  of 
the  Median;  while  reverence,  grandeur,  sublimity,  and 
devotion  require  the  fullest  form. 


> 


Median  Stress.  165 

EXAMPLE :  PATHOS  AND  SUBLIMITY. 

Median  Stress,  Moderate  Force,  Orotund  Quality,  Effusive  Form. 

Break!  Break!  Break! 

TENNYSON. 

1.  Break,  break^break, 

On  thy  cold  gray  stones,  O  sea l/ 
And  I  would  that  my  tongue  could  utter 
The  thoughts  that  arise  in  me. 

2.  O  well  for  the  fisherman's  boy 

That  he  shouts  with  his  sister  at  play,  /■ 
O  well  for  the  sailor  lad^ 
That  he  singsTn  his  boat  on  the  bay ! 

3.  And  the  stately  ships  go  on 

To  their  haven  under  the  hill; 
But  O  for  the  touch  of  a  vanished  hand  I 
Ahdthe  sound  of  a  voice  that  is  still. 

\ 

4.  Break,  breaj^  break,, 

At  the  foot  of  thy  crags,  O  sea ! 
But  the  tender  grace  of  a  day  that  is  dead 
Will  never  come  back  to  me. 


Questions. 

1.  What  is  the  element  in  this  le&son  ? 

2.  Define  Stress. 

3.  How  many  kinds  of  Stress  are  there  ?    Name  them. 

4.  Defiae  Median  Stress. 

5.  Illustrate  it. 

6.  "With  what  form  can  it  be  given  ? 

7.  What  are  its  advantages  ? 

8.  What  is  the  difference  between  Effusive  Form,  and  Effusive 

Form  Median  Stress  ? 


166 


Science  of  Elocution. 


DIAGRAM  OP  LESSON  TWENTY-NINTH. 


1.  Exercises. 


2.  Review — Force  of  Voice. 

C  Definition. 

3.  Element — Stress -I  Divisions 

[  Illustrations. 


3*  Topic— Median  Stress, 


4.  Selection.    "Break!  Break!  Break! 


Position. 
Gesture. 

Breathing. 
Articulation. 

Median. 
Radical. 
Final. 
Compound. 
Thorough. 
b  Intermittent. 

Definition. 
Illustration. 
Advantages. 
How  Acquired. 
Class  Exercise. 
When  used. 
Example. 


LESSON    XXX. 
Exercises    in    Articulation. 

m,  as  in  moon, 
morn,  move,  man, 

arm,  farm,  harm. 

1.  More  than  mortal  man  may  be. 

2.  Many  men  are  misled  by  fame. 

3.  Mile-stones  mark  the  march  of  time. 

4.  Much  learning  hath  made  thee  mad. 

5.  Mournfully  they  march  to  the  martial  music. 

Radical  Stress. 

Hadical  Stress  is  the  application  of  the  force  of  the 
voice  to  the  first  part  of  a  vocal  sound  (vocal  as  dis- 
tinguished from    ubvocal  or  Aspirate),  or  the  first  vocal 


Eadical  Stress.  167 

part  of  the  accented  syllable  of  a  word.  It  is  heard 
only  in  connection  with  the  Expulsive  or  Explosive 
Form  of  voice. 

The  clear  and  forcible  Radical  Stress  can  take  place 
only  after  an  interruption  of  the  voice.  It  would  seem 
as  if  there  is  some  momentary  occlusion  in  the  larynx, 
by  which  the  breath  is  barred  and  accumulated  for  the 
purpose  of  a  full  and  sudden  discharge.  This  occlusion 
is  most  under  command,  and  the  explosion  is  most 
powerful,  on  syllables  beginning  with  a  tonic  element, 
or  with  an  abrupt  one  preceding  a  tonic,  for  in  this  last 
case  an  obstruction  in  the  organs  of  articulation  is  com- 
bined with  the  function  of  the  larynx. 

Advantages  of  Radical  Stress. 

Radical  Stress  is  one  of  the  most  important  proper- 
ties of  utterance.  Without  it  reading  and  speaking  of 
a  didatic,  narrative,  descriptive,  argumentative,  and 
impassioned  poetic  style  become  dull  and  lifeless. 

The  argumentative  speaker  who  has  not  this  property 
at  command  fails  to  produce  conviction  in  the  minds  of 
his  hearers. 

Dr.  Rush  says  of  the  Radical  Stress:  "It  is  this 
which  draws  the  cutting  edge  of  words  across  the  ear, 
and  startles  even  stupor  into  attention;  this  which  less- 
ens the  fatigue  of  listening,  and  outvoices  the  stir  and 
rustle  of  an  assembly." 

Murdoch  and  Russell  say:  "The  utter  absence  of 
Radical  Stress  bespeaks  timidity  and  indecision,  confu- 
sion of  thought,  and  feebleness  of  purpose.  The  speaker 
who  fails  in  regard  to  the  effect  of  this  property  of 
utterance  solicits  our  pity  rather  than  commands  our 
respect.  The  right  degree  of  this  function  indicates 
the  manly,  self-possessed  speaker." 


168 


Science  of  Elocution. 


The  following  cuts  indicate  to  the  eye  Expulsive 
Form  with  and  without  the  Radical  Stress.  The  Rad- 
ical expends  the  full  force  of  the  voice  on  the  first  part. 


DIAGRAM 


EXPULSIVE  FORM 

WITHOUT 
RADICAL,  STRESS. 


EXPULSIVE  FORM 

WITH 
RADICAL  STRESS. 


To  cultivate  the  Radical  Stress,  practice  the  following 
elements,  words,  and  sentences  in  the  Expulsive  and 
Explosive  Forms,  first  with  Pure  Tone,  then  with  Oro- 
tund, in  the  Moderate,  Energetic,  and  Impassioned 
degrees  of  Force.  In  this  exercise  be  careful  to  expend 
the  full  force  of  the  voice  upon  the  first  part  of  the 
word  or  sound. 

Exercises  in  Radical  Stress. 
1.  a,  as  heard  in  add,  fat. 


2. 

e, 

u 

u 

end,  met. 

3. 

h 

a 

tt 

ill,  fin. 

4. 

o, 

it 

a 

odd,  not. 

5. 

u, 

« 

n 

us,  tub. 

add, 

end, 

orb, 

all, 

ease, 

isle, 

inch, 

use. 

oil, 

up, 

on, 

aid. 

1.  Paul  Revere  was  a  rider  bold. 

2.  Out  of  the  North  the  wild  news  came. 

3.  Talk  to  the  point,  and  stop  when  you  reach  it. 


Radical  Stress.  169 

exercises 

Combining  Form,  Quality,  Force,  and  Radical  Stress. 
Repeat  the  sentences  in  last  exercise  with 

1.  Expulsive   Form,    Pure   Tone,    Moderate  Force, 
Radical  Stress. 

2.  Expulsive    Form,   Orotund    Quality,    Energetic 
Force,  Radical  Stress. 

3.  Explosive    Form,    Orotund,   Impassioned    Force, 
Radical  Stress. 

Radical  Stress — When  Used. 
The  Radical  Stress  is  heard  in  various  degrees.  In 
its  milder  form  it  is  the  Stress  appropriate  for  the  de- 
livery of  narrative,  descriptive,  and  didatic  thought  in 
the  style  of  essays,  lectures,  and  sermons;  in  a  more  en- 
ergetic form  it  is  appropriate  for  the  utterance  of  argu- 
mentative speeches  and  orations ;  and  in  its  most  im- 
passioned form  for  the  expression  of  intense  feeling  and 
emotion,  as  anger,  scorn,  defiance,  etc. 

EXAMPLE:    ANIMATED    NABBATION    AND   DESCKIP- 
TION. 

Radical  Stress,  Energetic  Force,  Pure  Tone,  Expulsive  Form. 

The  Ride  of  Jennie  McNeaL 

WILL  CARLETON. 

1.  Paul  Revere  was  a  rider  bold, — 
Well  has  his  valorous  deeds  been  told ; 
Sheridan's  ride  was  a  glorious  one, — 
Often  it  has  been  dwelt  upon ; 

But  why  should  men  do  all  the  deeds 
On  which  the  love  of  a  patriot  feeds  ? 
Hearken  to  me,  while  I  reveal 
The  dashing  ride  of  Jennie  McNeal. 

2.  On  a  spot  as  pretty  as  might  be  found 

In  the  dangerous  length  of  the  Neutral  Ground, 


170  Science  of  Elocution. 

In  a  cottage  cozy,  and  all  their  own, 
She  and  her  mother  lived  alone. 
Safe  were  the  two,  with  their  frugal  store, 
From  all  the  many  who  pass'd  their  door ; 
For  Jennie's  mother  was  strange  to  fears, 
And  Jennie  was  large  for  fifteen  years : 
With  vim  her  eyes  were  glistening, 
Her  hair  was  the  hue  of  a  blackbird's  wing, 
And,  while  her  friends  who  knew  her  well 
The  sweetness  of  her  heart  could  tell, 
A  gun  that  hung  on  the  kitchen  wall 
Look'd  solemnly  quick  to  heed  her  call ; 
And  they  who  were  evil-minded  knew 
Her  nerve  was  strong  and  her  aim  was  true. 
So  all  kind  words  and  acts  did  deal 
To  generous,  black-eyed  Jennie  McNeal. 

3.  One  night,  when  the  sun  had  crept  to  bed, 
And  rain-clouds  linger'd  overhead, 

And  sent  their  surly  drops  for  proof 
To  drum  a  tune  on  the  cottage  roof, 
Close  after  a  knock  at  the  outer  door 
There  enter'd  a  dozen  dragoons  or  more. 
Their  red  coats,  stain'd  by  the  muddy  road, 
That  they  were  British  soldiers  show'd: 
The  captain  his  hostess  bent  to  greet, 
Saying,  "  Madam,  please  give  us  a  bit  to  eat; 
We  will  pay  you  well,  and,  it  may  be, 
This  bright-eyed  girl  for  pouring  our  tea; 
Then  we  must  dash  ten  miles  ahead, 
To  catch  a  rebel  colonel  a-bed. 
He  is  visiting  home,  as  doth  appear ; 
We  will  make  his  pleasure  cost  him  dear." 
And  they  fell  on  the  hasty  supper  with  zeal, 
Close-watch'd  the  while  by  Jennie  McNcal. 

4.  For  the  gray  hair'd  colonel  they  hover'd  near 
Had  been  her  true  friend,  kind  and  dear; 
And  oft,  in  her  younger  days,  had  he 
Right  proudly  perch'd  her  upon  his  knee, 


Eadical  Stress.  171 

And  told  her  stories  many  a  one 
Concerning  the  French  war  lately  done. 
And  oft  together  the  two  friends  were, 
And  many  the  arts  he  had  taught  to  her ; 
She  had  hunted  by  his  fatherly  side, 
He  had  shown  her  how  to  fence  and  ride; 
And  once  had  said,  "  The  time  may  be, 
Your  skill  and  courage  may  stand  by  me." 
So  sorrow  for  him  she  could  but  feel, 
Brave,  grateful-hearted  Jennie  MdSTeal. 

With  never  a  thought  or  a  moment  more, 
Bare-headed  she  slipp'd  from  the  cottage  door, 
Ran  out  where  the  horses  were  left  to  feed, 
Unhitch'd  and  mounted  the  captain's  steed, 
And  down  the  hilly  and  rock-strewn  way 
She  urged  the  fiery  horse  of  gray. 
Around  her  slender  and  cloakless  form 
Patter'd  and  moan'd  the  ceaseless  storm : 
Secure  and  tight  a  gloveless  hand 
Grasp'd  the  reins  with  stern  command; 
And  full  and  black  her  long  hair  stream'd, 
Whenever  the  ragged  lightning  gleam'd. 
And  on  she  rush'd  for  the  colonel's  weal, 
Brave,  lioness-hearted  Jennie  McNeal. 

Hark !  from  the  hills,  a  moment  mute, 
Came  a  clatter  of  hoofs  in  hot  pursuit ; 
And  a  cry  from  the  foremost  trooper  said, 
"Halt !  or  your  blood  be  on  your  head !  " 
She  heeded  it  not,  and  not  in  vain 
She  lash'd  the  horse  with  the  bridle  rein ; 
So  into  the  night  the  gray  horse  strode ; 
His  shoes  hew'd  fire  from  the  rocky  road ; 
And  the  high-born  courage  that  never  dies 
Flash'd  from  his  rider's  coal-black  eyes ; 
The  pebbles  flew  from  the  fearful  race ; 
The  rain-drops  grasp'd  at  her  glowing  face. 
"  On,  on,  brave  beast!  "  with  loud  appeal, 
Cried  eager,  resolute  Jennie  MoNeal. 


172  Science  of  Elocution. 

"  Halt!  "  once  more  came  the  voice  of  dread; 

"  Halt!  or  your  blood  be  on  your  head !  " 

Then,  no  one  answering  to  the  calls, 

Sped  after  her  a  volley  of  balls. 

They  pass'd  her  in  her  rapid  flight, 

They  scream'd  to  her  left,  they  scream'd  to  her  right; 

But,  rushing  still  o'er  the  slippery  track, 

She  sent  no  token  of  answer  back, 

Except  a  silvery  laughter  peal, 

Brave,  merry-hearted  Jennie  McNeal. 

7.  So  on  she  rush'd  at  her  own  good  will, 
Through  wood  and  valley,  o'er  plain  and  hill : 
The  gray  horse  did  his  duty  well, 

Till  all  at  once  he  stumbled  and  fell, 
Himself  escaping  the  nets  of  harm, 
But  flinging  the  girl  with  a  broken  arm. 
Still  undismay'd  by  the  numbing  pain, 
She  clung  to  the  horse's  bridle  rein, 
And  gently  bidding  him  to  stand, 
Petted  him  with  her  able  hand ; 
Then  sprung  again  to  the  saddle  bow, 
And  shouted,  u  One  more  trial  now  !  " 
As  if  ashamed  of  the  heedless  fall, 
He  gather'd  his  strength  once  more  for  all, 
And,  galloping  down  a  hill-side  steep, 
Gain'd  on  the  troopers  at  every  leap  ; 
No  more  the  high-bred  steed  did  reel, 
But  ran  his  best  for  Jennie  McNeal. 

8.  They  were  a  furlong  behind  or  more, 

When  the  girl  burst  through  the  colonel's  door, — 
Her  poor  arm  helpless  hanging  with  pain, 
And  she  all  drabbled  and  drench'd  with  rain, 
But  her  cheeks  as  red  as  fire-brands  are, 
And  her  eyes  as  bright  as  a  blazing  star, — 
And  shouted,  "  Quick!  be  quick,  I  say! 
They  come !  they  come !  away !  away ! " 
Then  sunk  on  the  rude  white  floor  of  deal 
Poor,  brave,  exhausted  Jennie  McNeal. 


Radical  Stress.  173 

The  startled  colonel  sprung,  and  press'd 

The  wife  and  children  to  his  breast, 

And  turn'd  away  from  his  fireside  bright, 

And  glided  into  the  stormy  night ; 

Then  soon  and  safely  made  his  way 

To  where  the  patriot  army  lay. 

But  first  he  bent  in  the  dim  fire-light, 

And  kiss'd  the  forehead  broad  and  white, 

And  blessed  the  girl  who  had  ridden  so  well 

To  keep  him  out  of  a  prison  cell. 

The  girl  roused  up  at  the  martial  din, 

Just  as  the  troopers  came  rushing  in, 

And  laugh'd  e'en  in  the  midst  of  a  moan, 

Saying,  "Good  sirs,  your  bird  has  flown: 

'Tis  I  who  have  scared  him  from  his  nest ; 

So  deal  with  me  now  as  you  think  best. " 

But  the  grand  young  captain  bow'd,  and  said, 

"  Never  you  hold  a  moment's  dread: 

Of  womankind  I  must  crown  you  queen ; 

So  brave  a  girl  I  have  never  seen : 

Wear  this  gold  ring  as  your  valor's  due; 

And  when  peace  comes  I  will  come  for  you." 

But  Jennie's  face  an  arch  smile  wore, 

As  she  said,   ' '  There's  a  lad  in  Putnam's  corps, 

Who  told  me  the  same,  long  time  ago; 

You  two  would  never  agree,  I  know : 

I  promised  my  love  to  be  true  as  steel," 

Said  good,  sure-hearted  Jennie  McNeal. 


Questions. 

1.  Define  Radical  Stress. 

2.  With  what  Forms  of  voice  can  it  be  given  ? 

3.  Describe  the  position  and  action  of  the  vocal  organs  in  the  pro- 

duction of  Radical  Stress. 

4.  Mention  some  of  the  advantages  of  Radical  Stress. 

5.  What  does  Dr.  Rush  say  of  it  ?    What  Murdock  and  Russell  ? 

6.  When  should  Radical  Stress  be  used  ? 

T.  What  is  the  difference  between  Expulsive  Form  and  Radical 
Stress? 


174  Science  of  Elocution. 

8.  What  between  Explosive  Form  and  Radical  Stress  ? 

(The  seventh  and  eighth  questions  are  not  directly  answered  in 
the  book.) 

9.  Why  does  the  selection  require  Radical  Stress  ? 

10.  Why  Energetic  Force  ? 

11.  Why  Pure  Tone? 

12.  Why  Expulsive  Form  ? 

13.  What  words  in  the  selection  require  Explosive  Form?    Whyi 

14.  What  require  Aspirate  Quality  ?    Yfhy  ? 


DIAGRAM  OF  THIRTIETH  LESSON. 

f  Position. 
Exercises 


2.  Review  Median  Stress. 

3.  Element — Stress. 


j  Gesture. 
1  Breathing. 
L  Articulation. 


4.  Topic— Radical  Stress. 


Definition. 
Illustration. 
Advantages. 
How  Acquired. 
Class  Exercise. 
When  Used. 
(^  Example. 


5.  Selection.    "  The  Ride  of  Jennie  McNeal. 


LESSOIST  XXXI. 

Exercises  in  Articulation. 

n,  as  in  no. 
noon,  now,  name, 

man,  ran,  won. 

1.  No  nation  need  despair. 

2.  No  man  knows  the  future. 

3.  Name  not  the  gods,  thou  boy  of  tears. 

4.  Now  none  so  poor  to  do  him  reverence. 

5.  Napoleon's  noble  nature  knew  no  niggardly  notions. 


Final  Stbess.  175 

Final  Stress. 

The  Final  Stress  is  the  application  of  the  force  of  the 
voice  to  the  last  part  of  the  word  or  sound. 

The  force,  at  first  but  slight,  is  gradually  increased, 
until  it  closes  in  an  abrupt  and  violent  sound.  In  its 
effect  on  the  ear  it  is  not  unlike  the  report  of  a  pistol 
when  it  hangs  fire. 

DIAGRAM 

OF 

FINAL    STRESS. 


Advantages  op  Final  Stress. 

It  is  the  Final  Stress  that  gives  intensity  to  deter- 
mined purpose,  earnest  resolve,  stern  rebuke,  and  manly 
protest.  Without  this  element  they  become  feeble 
and  contemptible. 

To  acquire  control  of  this  style  of  Stress  practice  the 
elements  and  words  as  directed.  Repeat  each  of  the  ele- 
ments, beginning  with  a  slight  sound,  which  gradually 
increase,  and  close  with  an  abrupt  and  forcible  utterance. 

Exercises  in  Final  Stress. 
1.  e,  as  heard  in  me,  see. 


2. 

a, 

"          "     ale,  pale. 

3. 

a, 

"          "     air,  fair. 

4. 

h 

*          "     ice,  fine. 

5. 

u, 

"          "     use,  tube. 

slave, 

wretch,               coward, 

villain, 

revenge,             defiance. 

176  Science  of  Elocution. 

1.  Thou  slave!  thou  wretch!  thou  coward  ! 

2.  Independence  now  and  independence  forever. 

3.  Live  or  die,  survive  or  perish,  I  am  for  the  decla- 
ration. 

4.  Let  the  consequences  be  what  they  may,  I  am  de- 
termined to  proceed. 

EXERCISES 

Combining  Form,  Quality,  Force,  Final  and  Radical  Stress. 

Repeat  the  first  and  second  of  the  above  sentences 
with 

1.  Expulsive    Form,    Orotund    Quality,    Energetic 
Force,  Final  Stress. 

2.  Expulsive  Form,  Orotund  Quality,  Energetic  Force, 
Radical  Stress. 

Repeat  the  third  of  the  above  sentences  with 

1.  Expulsive  Form,  Orotund  and  Aspirate  Qualities, 
Energetic  Force,  Final  Stress. 

2.  Expulsive  Form,  Aspirate  Quality,  Impassioned 
Force,  Final  Stress. 

Repeat  the  fourth  sentence  with 

1.  Expulsive   Form,  Pectoral  Quality,  Impassioned 
Force,  Final  Stress. 

2.  Explosive  Form,  Guttural   Quality,  Impassioned 
Force,  Final  Stress. 

Final  Stress — When  Used. 
The  Final  Stress  is  employed  in  the  expression  of  de- 
termined purpose,  earnest  resolve,  stern  rebuke,  contempt, 
astonishment,  horror,  revenge,  hate  and  similar  passions. 
It  is  always  combined  with  the  Expulsive  or  Explosive 
Form  of  Voice,  and,  in  the  expression  of  violent  passion, 
with  the  Aspirate,  Pectoral,  or  Guttural  Quality. 


Final  Stress.  177 


EXAMPLE:    HATE,    DETERMINED    PURPOSE,    SCORN, 
AND  DISGUST. 

Final  Stress,  Energetic  and  Impassioned  Force,  Orotund,  Aspirate,  and 
Pectoral  Qualities,  Expulsive  Form. 

Hate  of  the  Bowl. 

1.  Go,  feel  what  I  have  felt ; 

Go,  bear  what  I  have  borne ; 
Sink  'neath  the  blow  a  father  dealt, 

And  the  cold  world's  proud  scorn: 
Then  suffer  on  from  year  to  year, 
Thy  sole  relief  the  scalding  tear. 

2.  Go,  kneel  as  I  have  knelt ; 

Implore,  beseech,  and  pray; 
Strive  the  besotted  heart  to  melt, 

The  downward  course  to  stay; 
Be  dashed  with  bitter  curse  aside, 
Your  prayers  burlesqued,  your  tears  defied. 

3.  Go,  weep  as  I  have  wept 

O'er  a  loved  father's  fall, 
See  every  promised  blessing  swept, 

Youth's  sweetness  turned  to  gall ; 
Life's  fading  flowers  strewed  all  the  way 
That  brought  me  up  to  woman's  day. 

4.  Go,  see  what  I  have  seen ; 

Behold  the  strong  man  bow, 
"With  gnashing  teeth,  lips  bathed  in  blood, 

And  cold  and  livid  brow. 
Go  catch  his  withering  glance,  and  see 
There  mirrored,  his  soul's  misery. 

5.  Go  to  thy  mother's  side, 

And  her  crushed  bosom  cheer; 
Thine  own  deep  anguish  hide ; 

Wipe  from  her  cheek  the  bitter  tear; 
Mark  her  wan  cheek  and  pallid  brow, 
The  gray  that  streaks  her  dark  hair  now, 
12 


178  Science  of  Elocution. 

Her  failing  frame  and  trembling  limb ; 
And  trace  the  ruin  back  to  him 
Whose  plighted  faith,  in  early  youth, 
Promised  eternal  love  and  truth ; 
But  who,  forsworn,  hath  yielded  up 
That  promise  to  the  cursed  cup; 
And  led  her  down,  through  love  and  light, 
And  all  that  made  her  prospects  bright; 
And  chained  her  there,  'mid  want  and  strife, 
That  lowly  thing,  a  drunkard's  wife ; 
And  stamped  on  childhood's  brow  so  mild, 
That  withering  blight,  a  drunkard's  child ! 

6.  Go,  hear  and  feel  and  see  and  know 

All  that  my  soul  hath  felt  and  known; 
Then  look  upon  the  wine-cup's  glow, 

See  if  its  beauty  can  atone ; 
Think  if  its  flavor  you  will  try, 
When  all  proclaim,  'Tis  drink  and  die ! 

7.  Tell  me  I  hate  the  bowl — 

Hate  is  a  feeble  word ; 
I  loathe,  abhor ;  my  very  soul 

With  strong  disgust  is  stirred 
Whene'er  I  see,  or  hear,  or  tell 
Of  the  dark  beverage  of  hell. 


Questions. 

1.  Define  Final  Stress. 

2.  Mention  some  of  its  advantages. 

3.  What  styles  of  thought  and  feeling  are  expressed  with  the  Final 

Stress? 

4.  Why  does  the  selection  require  Final  Stress  ? 

5.  Why  Pectoral  Quality? 


Final  Stress. 


179 


DIAGRAM  OF  THIRTY-FIRST  LESSON 

f  Position. 
1.  Exercises < 


2.  Review  Radical  Stress. 

3.  Element — Stress. 


4.  Topic— Final  Stress. 


5.  Selection.     "  Hate  of  the  Bowl." 


Gesture. 

Breathing. 

Articulation. 


Definition. 
Illustration. 
Advantages. 
How  Acquired- 
Class  Exercises. 
When  Used. 
w  Examples. 


LESSON    XXXII. 

Exercises  in  Articulation. 

ng,  as  in  sing. 

wing,  ring,  bring, 

thing,  learning,  rising. 

1.  Long  may  it  wave. 

2.  Dying,  we  will  assert  it. 

3.  Living,  we  will  maintain  it. 

4.  Bring  flowers,  sweet  flowers. 

5.  Standing  on  the  confines  of  another  world. 

Compound  Stress. 

Compound  Stress  is  the  application  of  the  force  to  the 
first  and  last  parts  of  the  word,  passing  over  the  inter- 
mediate parts  lightly. 

Advantages  of  Compound  Stress. 
The  Compound  Stress  gives  intensity  to  the  utterance 
of  surprise,  contempt,  mockery,  railery,  and  sarcasm. 
"The  use  of  this  style  of  Stress  belongs  appropriately 


180  Science  of  Elocution. 

to  feelings  of  peculiar  force  or  acuteness;  but  on  this 
very  account  it  becomes  an  indispensable  means  of  nat- 
ural expression  and  true  effect  in  many  passages  of 
reading  and  speaking.  The  difference  between  vivid 
and  dull  or  flat  utterance  will  often  turn  on  the  exact- 
ness with  which  this  expressive  function  of  voice  is 
exerted." 

To  cultivate  this  form  of  Stress  practice  the  following 
words  and  sentences,  giving  the  force  of  the  voice  to 
the  first  and  last  parts  of  each  word. 

Exercises  in  Compound  Stress. 
gone,  heaven,  married, 

canopy,  traitor,  convicted. 

1.  Gone  to  be  married. 

2.  Banished  from  Rome. 

3.  Tried  and  convicted  traitor ! 

exercises 

Combining  Form,   Quality,  Force,  and  Compound  Stress. 

Repeat  each  of  the  above  sentences  with 

1.  Expulsive  Form,  Pectoral  Quality,  Energetic 
Force,  Compound  Stress. 

2.  Expulsive  Form,  Orotund  Quality,  Moderate 
Force,  Final  Stress. 

Compound  Stress — When  Used. 

The  Compound  is  appropriately  employed  in  the  ex- 
pression of  surprise,  contempt,  and  mockery,  and  some- 
times of  sarcasm  and  railery. 

There  are  few  if  any  selections  that  will  require  Com- 
pound Stress  throughout.  The  following  scene  from 
Hamlet  is  presented  as  containing  several  fine  examples. 
The  passages  requiring  the  Compound  Stress  are  printed 
in  italics. 


Compound  Stress.  181 


EXAMPLE. 

Compound  and  Radical  Stress,  Energetic  Force,  Orotund,  Pure  Tone, 
and  Pectoral,  Expulsive  Form. 

Scene  from  Hamlet.    Act  iii.    Scene  iv. 

SHAKESPEARE. 

Pol.  He  will  come  straight.     Look,  you  lay  home  to  him : 
Tell  him  his  pranks  have  been  too  broad  to  bear  with ; 
And  that  your  grace  hath  screened  and  stood  between 
Much  heat  and  him.     I'll  sconce  me  even  here. 
Pray  you,  be  round  with  him. 

Queen.  I'll  warrant  you — 
Fear  me  not.     Withdraw,  I  hear  him  coming. 

Enter  Hamlet. 

17am.  Now,  mother,  what's  the  matter  ? 

Queen.  Hamlet,  thou  hast  thy  father  much  offended. 

Earn.  Mother,  you  have  my  father  much  offended. 

Queen.  Come,  come,  you  answer  with  an  idle  tongue. 

Ham.  Go,  go,  you  question  with  a  wicked  tongue. 

Queen.  Why,  how  now,  Hamlet  ? 

Ham.  What's  the  matter  now  ? 

Queen.  Have  you  forgot  me  ? 

Ham.  No,  by  the  rood,  not  so  ; 
You  are  the  queen,  your  husband's  brother's  wife ; 
And — would  it  were  not  so  ! — you  are  my  mother. 

Queen.  Nay,  then,  I'll  set  those  to  you  that  can  speak. 

Ham.  Come,  come,  and  sit  you  down;  you  shall  not  budge; 
You  go  not,  till  I  set  you  up  a  glass 
Where  you  may  see  the  inmost  part  of  you. 

Queen.  What  wilt  thou  do  ?     Thou  wilt  not  murder  me ! 
Help,  help,  ho! 

Pol.  What,  ho!  help! 

Ham.  How  now !  a  rat  ? 
Dead,  for  a  ducat,  dead 

Pol.  O  !     O  !     O  !     I  am  slain. 

Queen.  O,  me  !  what  hast  thou  done  ? 

Ham.  Nay,  I  know  not : 
Is  it  the  king  ? 


182  Science  of  Elocution. 

Queen.  O,  what  a  rash  and  bloody  deed  is  this ! 

Ham.  A  bloody  deed;  almost  as  bad,  good  mother, 
As  kill  a  king,  and  marry  with  his  brother. 

Queen.  As  kill  a  king  t 

Ham.  Ay,  lady,  'twas  my  word. — 
Thou  wretched,  rash,  intruding  fool,  farewell ! 
I  took  thee  for  thy  better. 

Leave  wringing  of  your  hands :  Peace — sit  you  down, 
And  let  me  wring  your  heart :  for  so  I  shall, 
If  it  be  made  of  penetrable  stuff; 
If  damned  custom  have  not  brazed  it  so, 
That  it  be  proof  and  bulwark  against  sense. 

Queen.  What  have  I  done,  that  thou  dar'st  wag  thy  tongue 
In  noise  so  rude  against  me  ? 

Ham.  Such  an  act, 
That  blurs  the  blush  and  grace  of  modesty ; 
Calls  virtue,  hypocrite ;  takes  off  the  rose 
From  the  fair  forehead  of  an  innocent  love, 
And  sets  a  blister  there ;  makes  marriage  vows 
As  false  as  dicers'  oaths.     O !  such  a  deed, 
As  from  the  body  of  contraction  plucks 
The  very  soul ;  and  sweet  religion  makes 
A  rhapsody  of  words — 
Ah,  me  !  that  act  ! 

Queen.  Ah,  me  !  what  act  ? 

Ham.  Look  here,  upon  this  picture,  and  on  this ; 
The  counterfeit  presentment  of  two  brothers. 
See,  what  a  grace  was  seated  on  this  brow — 
Hyperion's  curls ;  the  front  of  Jove  himself ; 
An  eye  like  Mars,  to  threaten  and  command ; 
A  station  like  the  herald  Mercury, 
New-lighted  on  a  heaven-kissing  hill; 
A  combination,  and  a  form,  indeed, 
Where  every  god  did  seem  to  set  his  seal, 
To  give  the  world  assurance  of  a  man : — 
This  was  your  husband.     Look  you  now,  what  follows : 
Here  is  your  husband ;  like  a  mildewed  ear, 
Blasting  his  wholesome  brother.     Have  you  eyes  ? 
Could  you  on  this  fair  mountain  leave  to  feed, 
And  batten  on  this  moor  ?     Ha !  have  you  eyes  ? 


Compound  Steess.  183 

You  cannot  call  it  love :  for,  at  your  age, 
The  hey-day  in  the  blood  is  tame,  it's  humble, 
And  waits  upon  the  judgment — and  what  judgment, 
Would  step  from  this  to  this  ? 
O,  shame !  where  is  thy  blush  ? 

Queen.  O,  Hamlet,  speak  no  more  ; 
Thou  turn'st  mine  eyes  into  my  very  soul  ; 
And  there  I  see  such  black  and  grained  spots, 
As  will  not  leave  their  tinct. 
No  more,  sweet  Hamlet. 

Ham.  A  murderer,  and  a  villain  : 
A  slave,  that  is  not  twentieth  part  the  tythe 
Of  your  precedent  lord : — a  vice  of  kings  ; 
A  cutpurse  of  the  empire  and  the  rule ; 
That  from  a  shelf  the  precious  diadem  stole, 
And  put  it  in  his  pocket ! 

Enter  Ghost. 

A  king  of  shreds  and  patches : — 

Save  me,  and  hover  o'er  me  with  your  wings, 

You  heavenly  guards! — what  would  your  gracious  figure? 

Queen.  Alas  !  he's  mad. 

Ham.  Do  you  not  come  your  tardy  son  to  chide, 
That,  lapsed  in  time  and  passion,  lets  go  by 
The  important  acting  of  your  dread  command  ? 
O,  say  ! 

Ghost.  Do  not  forget : — this  visitation 
Is  but  to  whet  thy  almost  blunted  purpose. 
But,  look !  amazement  on  thy  mother  sits : 
O,  step  between  her  and  her  fighting  soul. 
Speak  to  her,  Hamlet. 

Ham.  How  is  it  with  you,  lady  ? 

Queen.  Alas  !  how  is't  with  you  ? 
That  you  do  bend  your  eye  on  vacancy, 
And  with  the  incorporal  air  do  hold  discourse  ! 
O,  gentle  son, 

Upon  the  heat  and  flame  of  thy  distemper 
Sprinkle  cool  patience.     Whereon  do  you  look  ? 

Ham.  On  him  !    on  him  !    Look  you,  how  pale  he  glares  ! 
His  form  and  cause  conjoined,  preaching  to  stones, 


184  Science  of  Elocution. 

Would  make  them  capable.     Do  not  look  upon  me  ; 

Lest,  with  this  piteous  action,  you  convert 

My  stern  effects  :  then  what  I  have  to  do 

Will  want  true  color  ;  tears,  perchance,  for  blood. 

Queen.  To  whom  do  you  speak  this  ? 

Ham,  Do  you  see  nothing  there  ? 

Queen.  Nothing  at  all ;  yet  all  that  is  I  see. 

Ham.  Nor  did  you  nothing  hear  ? 

Queen.  No,  nothing,  but  ourselves. 

Ham.  Why,  look  you  there  !  look  how  it  steals  away  ! 
My  father,  in  his  habit  as  he  lived  ! 
Look  where  he  goes,  even  now,  out  at  the  portal ! 

Queen.  This  is  the  very  coinage  of  your  brain  ; 
This  bodiless  creation  ecstasy 
Is  very  cunning  in. 

Ham.  Ecstasy  ! 
My  pulse,  as  yours,  doth  temperately  keep  time, 
And  makes  as  healthful  music  :  it  is  not  madness 
That  I  have  uttered  :  bring  me  to  the  test, 
And  I  the  matter  will  re-word  ;  which  madness 
Would  gambol  from.    Mother,  for  love  of  grace, 
Lay  not  that  flattering  unction  to  your  soul, 
That  not  your  trespass,  but  my  madness,  speaks: 
It  will  but  skin  and  film  the  ulcerous  place  ; 
Whiles  rank  corruption,  mining  all  within, 
Infects  unseen.     Confess  yourself  to  heaven ; 
Repent  what's  past  ;  avoid  what  is  to  come. 

Queen.  O,  Hamlet!  thou  hast  cleft  my  heart  in  twain. 

Ham.  O !  throw  away  the  worser  part  of  it, 
And  live  the  purer  with  the  other  half. 
Good  night! 

And  when  you  are  desirous  to  be  blessed, 
I'll  blessing  beg  of  you.     For  this  same  lord, 
I  do  repent. 

I  will  bestow  him,  and  will  answer  well 
The  death  I  gave  him.     So,  again,  good-night  ! — 
I  must  be  cruel,  only  to  be  kind: 
Thus  bad  begins,  and  worse  remains  behind. 


Compound  Stress.  185 

Questions. 

1.  What  is  the  element  in  this  lesson? 

2.  "What  the  topic? 

3.  Define  Compound  Stress. 

4.  What  the  principle  ? 

5.  Why  do  the  passages  marked  require  Compound  Stress? 

6.  What  quality  of  voice  should  Hamlet  use  ?    Why  ? 

7.  What  the  queen  ?     Why  ? 

8.  What  Polonius  ?    Why  ? 

9.  What  the  ghost  ?    Why  ? 

10.  Draw  a  diagram  of  this  lesson. 


LESSON  XXXIII. 

Exercises  in  Articulation. 

w,  as  in  wit. 

was,  wise,  wild, 

weed,  weld,  wear. 

1.  Weep  not  for  me. 

2.  Wild  was  the  night. 

3.  Wise  men  will  rule  well. 

4.  When  wisdom  shall  return. 

5.  Well  have  they  done  their  part. 

Thorough  Stress. 

Tliorough  Stress  is  the  application  of  the  force  of  the 
voice  equally  to  all  parts  of  the  word  or  sound.  It  can 
be  given  with  both  Effusive  and  Expulsive  Forms. 

Advantages  of  Thorough  Stress. 
Thorough  Stress  is  one  of  the  most  powerful  weapons 
of  oratory.     Its  effect,  when  judiciously  used  with  Ex- 
pulsive Form,  Orotund  Quality,  Impassioned  Force,  is 
magical.     It  rouses  the  feelings,  kindles  the  emotions, 


186  Science  of  Elocution. 

and  stirs  the  very  soul  of  an  audience.  With  Effusive 
Form,  Pectoral  Quality,  it  intensifies  the  expression  of 
awe  and  dread. 

To  cultivate  this  element  of  expression  practice  the 
elements,  words,  and  sentences  with  all  the  force  you 
can  command  in  the  Orotund  Expulsive. 

Exercises  in  Thorough  Stress. 

1.  o,  as  heard  in  no,  go. 

2.  a,     "  "     ale,  pale. 

3.  a,     "  "     arm,  farm. 

4.  I,     "  "    ice,  fine, 
arm,             home,  come, 
awake,         arise,  shout. 

1.  Forward,  the  Light  Brigade. 

2.  Princes,  potentates,  warriors. 

3.  Awake!  arise!  or  be  forever  fallen! 

exercises 
Combining  Form,   Quality,  Force,  and  Tliorough  Stress. 
Repeat  the  above  sentences  with 

1.  Expulsive  Form,  Pure  Tone,  Energetic  Force, 
Thorough  Stress. 

2.  Expulsive  Form,  Orotund,  Impassioned  Force, 
Thorough  Stress. 

Thorough  Stress — When  Used. 

Thorough  Stress  is  appropriately  employed  in  the  ex- 
pression of  rapture,  joy \  exultation,  lofty  command,  in- 
dignant emotion,  oratorical  apostrophe,  and  virtuous 
indignation  ;  and  sublimity  and  grandeur  when  mingled 
with  awe  and  dread. 

This  selection  does  not  require  Thorough  Stress 
throughout,  nor  does  any  one  selection  require  exactly 
the  same  combinations  of  elements  throughout,  else  the 


Thorough  Steess.  187 

utterance  would  be  monotonous ;  but  as  the  sentiment 
changes  so  the  combination  must  be  varied.  It  is  this 
constant  change  of  combinations  that  requires  the  exer- 
cise of  taste  and  judgment.  Much  of  this  selection 
will  require  Expulsive  Form,  Pure  Tone,  Moderate  or 
Energetic  Force,  and  Radical  Stress.  Only  the  last  two 
stanzas  require  the  combination  given  below. 

EXAMPLE. 

Thorough  Stress.  Energetic  and  Impassioned  Force,  Orotund  Quality, 
Expulsive  Form. 

The  Launching  of  the  Ship. 

H.    W.  LONGFELLOW. 

1.  "  Build  me  straight,  O  worthy  master! 

Stanch  and  strong,  a  goodly  vessel, 
That  shall  laugh  at  all  disaster, 
And  with  wave  and  whirlwind  wrestle ! " 

2.  The  merchant's  word, 
Delighted,  the  master  heard ; 

For  his  heart  was  in  his  work,  and  the  heart 
Giveth  grace  unto  every  art : 
And,  with  a  voice  that  was  full  of  glee, 
He  answered,  "  Ere  long  we  will  launch 
A  vessel  as  goodly  and  strong  and  stanch 
As  ever  weathered  a  wintry  sea !  " 

3.  All  is  finished !  and  at  length 
Has  come  the  bridal  day 

Of  beauty  and  of  strength : 

To-day  the  vessel  shall  be  launched ! 

With  fleecy  clouds  the  sky  is  blanched; 

And  o'er  the  bay, 

Slowly,  in  all  his  splendors  dight, 

The  great  Sun  rises  to  behold  the  sight. 

4.  The  ocean  old, 
Centuries  old, 

Strong  as  youth,  as  uncontrolled, 

Paces  restless  to  and  fro, 

Up  and  down  the  sands  of  gold. 


188  Science  of  Elocution. 

His  beating  heart  is  not  at  rest ; 

And  far  and  wide, 

With  ceaseless  flow, 

His  beard  of  snow 

Heaves  with  the  heaving  of  his  breast : 

He  waits  impatient  for  his  bride. 

5.  There  she  stands, 

With  her  foot  upon  the  sands, 

Decked  with  flags  and  streamers  gay, 

In  honor  of  her  marriage-day, 

Her  snow-white  signals  fluttering,  blending, 

Round  her  like  a  veil  descending, 

Ready  to  be 

The  bride  of  the  gray  old  sea. 

6.  Then  the  master, 

With  a  gesture  of  command, 

Waved  his  hand ; 

And  at  the  word 

Loud  and  sudden  there  was  heard, 

All  around  them  and  below, 

The  sound  of  hammers,  blow  on  blow, 

Knocking  away  the  shores  and  spurs : 

And  see !  she  stirs ! 

She  starts — she  moves — she  seems  to  feel 

The  thrill  of  life  along  her  keel, 

And,  spurning  with  her  feet  the  ground, 

With  one  exulting,  joyous  bound, 

She  leaps  into  the  ocean's  arms ! 

7.  And,  lo !  from  the  assembled  crowd 
There  rose  a  shout,  prolonged  and  loud, 
That  to  the  ocean  seemed  to  say, 

"  Take  her,  O  bridegroom,  old  and  gray  ; 

Take  her  to  thy  protecting  arms, 

With  all  her  youth  and  all  her  charms!  " 

8.  How  beautiful  she  is!  how  fair 

She  lies  within  those  arms  that  press 
Her  form  with  many  a  soft  caress 
Of  tenderness  and  watchful  care! 


Thorough  Stress.  189 

Sail  forth  into  the  sea,  O  ship ! 

Through  wind  and  wave  right  onward  steer! 
The  moistened  eye,  the  trembling  lip, 

Are  not  the  signs  of  doubt  or  fear. 

9.  Thou,  too,  sail  on,  O  ship  of  State ! 
Sail  on,  O  Union,  strong  and  great ! 
Humanity,  with  all  its  fears, 
With  all  the  hope  of  future  years, 
Is  hanging  breathless  on  thy  fate ! 
We  know  what  Master  laid  thy  keel, 
What  workmen  wrought  thy  ribs  of  steel, 
Who  made  each  mast  and  sail  and  rope, 
What  anvils  rang,  what  hammers  beat, 
In  what  a  forge,  and  what  a  heat, 
Were  shaped  the  anchors  of  thy  hope ! 

10.  Fear  not  each  sudden  sound  and  shock; 
'Tis  of  the  wave,  and  not  the  rock ; 
'Tis  but  the  flapping  of  the  sail, 
And  not  a  rent  made  by  the  gale ! 
In  spite  of  rock  and  tempest's  roar, 
In  spite  of  false  lights  on  the  shore, 
Sail  on,  nor  fear  to  breast  the  sea! 
Our  hearts,  our  hopes,  are  all  with  thee ; 
Our  hearts,  our  hopes,  our  prayers,  our  tears, 
Our  faith  triumphant  o'er  our  fears, 
Are  all  with  thee — are  all  with  thee ! 


Questions. 

1.  Define  Thorough  Stress. 

2.  With  what  Forms  can  it  be  given  ? 

3.  What  are  the  advantages  of  Thorough  Stress? 

4.  With  what  Combinations  may  it  be  given  ? 

5.  When  is  it  appropriately  employed  ? 

6.  Why  does  the  selection  require  Thorough  Stress  ? 

7.  How  much  of  it  should  be  given  with  Thorough  Stress  ? 


190  Science  of  Elocution. 

8.  With  what  combination  should  the  last  three  lines  of  the  sixth 

stanza  be  given  ? 

9.  With  what  the  first  three  ? 

10.  Why? 

11.  Which  stanzas  specially  require  Thorough  Stress? 

12.  What  other  elements  do  they  require  ? 


LESSON  XXXIV. 

Exercises  in  Articulation. 

y,  as  in  yet. 
you,  year,  yard, 

yawn,  yellow,  youth. 

1.  Year  after  year  our  blessings  continue. 

2.  Yonder  comes  the  powerful  king  of  day. 

3.  Yield,  madman,  yield;  thy  horse  is  down. 

4.  Yield  to  mercy  while  'tis  offered  to  you. 

5.  "  Yet  I  say  unto  you,  That  even  Solomon  in  all  his 
glory  was  not  arrayed  like  one  of  these." 

Intermittent  Stress. 

The  Intermittent  Stress  is  a  tremulous  emission  of  the 
voice  from  the  organs.  It  can  be  given  both  with  the 
Effusive  and  Expulsive  Forms. 

Intermittent  Stress — Advantage  of. 

The  Intermittent  Stress  gives  a  vivid  and  touching 
expression  to  utterance,  for  the  absence  of  which  nothing 
can  atone.  "  Without  its  appeal  to  sympathy,  and  its 
peculiar  power  over  the  heart,  many  of  the  most  beau- 
tiful and  touching  passages  of  Shakespeare  and  Milton 
become  dry  and  cold." 


Intermittent  Stress.  191 

To  acquire  control  of  this  style  of  Stress  practice  the 
elements,  words,  and  sentences  with  a  short,  quick, 
broken  utterance. 


Exercises 

IN 

Intermittent  Stress. 

1.  e, 

as  heard  in  me,  see. 

2.  a, 

tt 

"    ale,  pale. 

3.  a, 

a 

"    add,  sad. 

4.  a, 

a 

«    talk,  all. 

5.  o, 

(( 

"     old,  bold. 

o, 

die,                door, 

old, 

man,              store. 

1.  O  I  have  lost  you  all. 

2.  And,  mother,  don't  you  cry. 

3.  Pity  the  sorrows  of  a  poor  old  man. 

EXERCISES 

Combining  Form,   Quality,  Force,  and  Intermittent  Stress. 

Repeat  first  and  second  of  the  above  sentences  with 

1.  Effusive  Form,  Pure  Tone,  Subdued  Force,  Inter- 
mittent Stress. 

Repeat  the  third  of  the  above  sentences  with 

2.  Expulsive  Form,  Pectoral  Quality,  Energetic 
Force,  Intermittent  Stress. 

Intermittent  Stress — When  Used. 

The  Intermittent  Stress  is  appropriately  used  in  the 
expression  of  all  emotions  attended  with  a  weakened  con- 
dition of  the  bodily  organs,  such  as  feebleness  from  age, 
exhaustion,  fatigue,  sickness,  and  grief.  It  is  also  ap- 
propriate in  the  expression  of  extreme  tenderness  and 
ecstatic  joy. 


192  Science  of  Elocution. 

EXAMPLE :  OLD  AGE  AND  FEEBLENESS. 

Intermittent  Stress,  Energetic  Force,  Pectoral  Quality,  Expulsive  Form. 

[It  is  hardly  necessary  to  say  that  only  the  words  of  the  old  man  require  the  above 
»nibinationJ 

On  the  Shores  of  Tennessee. 

ETHEL   L.   BEERS. 

1.  "  Move  my  arm-chair,  faithful  Pompey, 

In  the  sunshine  bright  and  strong, 
For  this  world  is  fading,  Pompey, 

Massa  wont  be  with  you  long; 
And  I  fain  would  hear  the  south  wind 

Bring  once  more  the  sound  to  me, 
Of  the  wavelets  softly  breaking 

On  the  shores  of  Tennessee. 

2.  "Mournful  though  the  ripples  murmur 

As  they  still  the  story  tell, 
How  no  vessels  float  the  banner 

That  I've  loved  so  long  and  well. 
I  shall  listen  to  their  music, 

Dreaming  that  again  I  see 
Stars  and  stripes  on  sloop  and  shallop 

Sailing  up  the  Tennessee. 

3.  "  And,  Pompey,  while  old  massa's  waiting 

For  Death's  last  dispatch  to  come, 
If  that  exiled  starry  banner 

Should  come  proudly  sailing  home, 
You  shall  greet  it,  slave  no  longer — 

Voice  and  hand  shall  both  be  free 
That  shout  and  point  to  Union  colors 

On  the  waves  of  Tennessee." 

4.  ' '  Massa's  berry  kind  to  Pompey ; 

But  ole  darkey's  happy  here, 
Where  he's  tended  corn  and  cotton 

For  dese  many  a  long-gone  year. 
Over  yonder  missis'  sleeping — 

No  one  tends  her  grave  like  me. 
Mebbe  she  would  miss  the  flowers 

She  used  to  love  in  Tennessee. 


13 


Intermittent  Stress.  193 

5.  "  'Pears  like  she  was  watching  massa — 

If  Pompey  should  beside  him  stay, 
Mebbe  she'd  remember  better 

How  for  him  she  used  to  pray : 
Telling  him  that  way  up  yonder 

"White  as  snow  his  soul  would  be, 
If  he  served  the  Lord  of  heaven 

While  he  lived  in  Tennessee." 

6.  Silently  the  tears  were  rolling 

Down  the  poor  old  dusky  face 
As  he  stepped  behind  his  master, 

In  his  long  accustomed  place. 
Then  a  silence  fell  around  them 

As  they  gazed  on  rock  and  tree 
Pictured  in  the  placid  waters 

Of  the  rolling  Tennessee. 

7.  Master,  dreaming  of  the  battle 

Where  he  fought  by  Marion's  side, 
When  he  bid  the  haughty  Tarlton 

Stoop  his  lordly  crest  of  pride. 
Man,  remembering  how  yon  sleeper 

Once  he  held  upon  his  knee, 
Ere  she  loved  the  gallant  soldier, 

Ralph  Yervair,  of  Tennessee. 

8.  Still  the  south  wind  fondly  lingers 

'Mid  the  veteran's  silver  hair ; 
Still  the  bondman  close  beside  him 

Stands  behind  the  old  arm-chair. 
With  his  dark-hued  hand  uplifted, 

Shading  eyes,  he  bends  to  see 
Where  the  woodland  boldly  jutting 

Turns  aside  the  Tennessee. 

9.  Thus  he  watches  cloud-born  shadows 

Glide  from  tree  to  mountain-crest, 
Softly  creeping,  ay  and  ever 
To  the  river's  yielding  breast. 


194  Science  of  Elocution. 

Ha !  above  the  foliage  yonder 
Something  flutters  wild  and  free ! 

"Massa  !  massa!  hallelujah  ! 
The  flag's  come  back  to  Tennessee  !  * 

10.  "Pompey,  hold  me  on  your  shoulder, 

Help  me  stand  on  foot  once  more, 
That  I  may  salute  the  colors 

As  they  pass  my  cabin  door. 
Here's  the  paper  signed  that  frees  you, 

Give  a  freeman's  shout  with  me — 
1  God  and  Union !  *  be  our  watch-word 

Evermore  in  Tennessee. " 

11.  Then  the  trembling  voice  grew  fainter, 

And  the  limbs  refused  to  stand ; 
One  prayer  to  Jesus — aud  the  soldier 

Glided  to  the  better  land. 
When  the  flag  went  down  the  river 

Man  and  master  both  were  free, 
While  the  ring-dove's  note  was  mingled 

With  the  rippling  Tennessee. 


Questions. 

1.  Define  Intermittent  Stress. 

2.  With  what  Form  can  it  be  given? 

3.  What  are  its  advantages  ? 

4.  Illustrate  it. 

5.  When  is  it  properly  used? 

6   Which  stanzas  in  the  selection  in  this  lesson  require  Intermittent 
Stress? 

7.  Why  do  they  require  this  Stress  ? 

8.  What  combination  does  the  fourth  stanza  require? 

9.  What  the  seventh?     Why? 


Pitch.  195 


LESSON    XXXV. 

Exercises  in  Articulation. 

p,  as  in  pin. 
pipe,  page,  pope, 

poem,        pop,  press. 

1.  Prove  all  things. 

2.  Perish  my  name! 

3.  Pickwick  Papers,  part  first. 

4.  Pictures  of  palaces  please  the  eye. 

5.  Poverty  and  pride  are  poor  companions. 

PITCH. 

Pitch  is  the  place  on  the  musical  scale  on  which  sound 
is  uttered.  Every  sound,  whether  produced  by  the  vocal 
organs  of  man,  bird,  or  beast,  or  by  natural  or  mechan- 
ical means,  has  some  Pitch.  We  speak  of  the  low  tones 
of  the  organ,  the  high  notes  of  the  fife,  the  low  growl 
of  the  wild  animal,  the  high  notes  of  the  birds,  as  famil- 
iarly as  of  the  deep  base  or  the  high  tenor  tones. 

Pitch  in  elocution  differs  materially  from  Pitch  in 
music.  In  the  former  it  is  relative,  in  the  latter  abso- 
lute; that  is,  if  two  persons  read  the  same  selection,  they 
need  not  have  the  same  Pitch  upon  the  musical  scale, 
and  yet  both  be  correct ;  but  if  they  sing  the  same  tune, 
they  must  illustrate  the  same  notes.  In  music  the  Pitch 
is  fixed  by  the  scale,  and  the  notes  must  be  given  with 
the  utmost  accuracy;  in  elocution  each  individual's  voice 
is  his  own  guide.  To  require  pupils  in  elocution  to  read 
on  the  same  Pitch  would  be  as  incorrect  as  to  require 
the  pupils  of  a  music  class  to  sing  in  different  keys. 


196  Science  of  Elocution. 

Teachers  of  elocution  make  no  greater  mistake  than 
that  of  requiring  all  pupils  to  take  the  same  key.  Voices 
differ  so  much  that  what  is  Low  Pitch  for  one  may  be 
simply  middle  for  another.  Nothing  in  the  practice  of 
elocution  is  more  offensive  to  a  cultivated  taste  than  the 
ridiculous  efforts  of  pupils  to  imitate  some  favorite 
ieacher's  tones.  It  cannot  be  too  firmly  impressed  upon 
the  minds  of  pupils  that  in  Pitch  each  voice  is  its  own 
guide.  If,  however,  the  voice,  from  some  external  cause, 
has  been  changed  from  its  natural  key,  it  should  as  soon 
as  possible  be  restored. 

Again,  Pitch  in  elocution  differs  from  Pitch  in  music 
in  the  manner  of  passing  from  one  division  or  note  to 
another.  In  elocution  the  changes  are  generally  by  the 
concrete  movement  or  glides,  in  music  by  the  discrete 
or  steps.  That  which  is  an  excellence  in  elocution  is 
an  error  in  music;  that  which  is  an  accomplishment  in 
singing  is  a  fault  in  reading  or  recitation.  To  pass  with 
measured  accuracy  from  one  word  to  another  in  elocu- 
tionary efforts  is  drawling  and  intolerable ;  to  glide  into 
the  notes  in  singing  is  dragging  and  disagreeable. 
Hence  persons  who  sing  a  great  deal  are  not  likely  to 
read  or  speak  well,  because  they  have  become  accus- 
tomed to  the  discrete  movement;  and  those  who  prac- 
tice elocution  are  rarely  successful  singers.  Music  and 
elocution,  though  not  incompatible,  are  rarely  combined 
in  a  high  degree  of  excellence  in  the  same  person. 
Indeed,  it  is  a  significant  fact  that  in  all  ages  of  the 
world  those  who  have  excelled  as  readers,  actors,  or 
orators  have  been  singularly  deficient  in  musical  tal- 
ents and  attainments,  and  those  who  have  been  dis- 
tinguished singers  have  not  been  applauded  for 
their  oratorical  efforts.  Exercises  in  elocution  may 
strengthen   the   singing   voice,   and   practice   in   vocal 


Pitch.  197 

music  may  give  sweetness  and  purity  to  the  speaking 
tones,  but  further  than  this  they  are  not  mutual  helpers. 
No  one  should  be  deterred  from  the  study  of  elocution 
because  he  cannot  illustrate  the  notes  of  the  scale  or 
distinguish  Yankee  Doodle  from  Old  Hundred.  To  read 
well  it  is  not  necessary  that  you  should  sing  even  the 
simplest  tune. 

Advantages  op  Pitch. 

Both  in  music  and  elocution  perfect  control  of  Pitch 
is  essential.  Without  it  there  can  be  no  natural,  pleas- 
ing, or  impressive  utterance.  More  public  speakers  fail 
from  an  incorrect  use  of  Pitch  than  from  any  other 
cause.  Often  the  voice  rises  to  a  high,  unnatural  tone, 
nearly  an  octave  above  the  natural  key  or  that  which 
the  sentiment  demands,  and  upon  this  unpleasant  tone 
the  utterance  is  continued  until  the  voice  is  injured  and 
the  hearers  wearied.  But  again,  control  of  Pitch  is 
important  because  different  tones  express  and  awaken 
different  thoughts  and  emotions.  The  Author  of  our 
being  has  so  attuned  our  natures  that  a  low,  deep  tone 
suggests  reverence  or  devotion,  High  Pitch  joyous 
feelings,  the  middle  key  unimpassioned  thought,  and 
the  lowest  tones  awe  and  dread.  To  properly  express 
these  emotions  the  Pitch  must  be  varied  at  pleasure. 

Divisions  of  Pitch. 

Instead  of  the  eight  exact  notes  in  music,  elocution 
presents  five  general  divisions  of  Pitch:  Very  High, 
High,  Middle,  Low,  and  Very  Low.  These  divisions 
are  not  limited  to  any  particular  notes  of  the  scale,  but 
vary  in  compass  with  different  voices,  some  being  lim- 
ited to  a  single  octave,  while  others  range  over  three  or 
four.  Each  voice  is  its  own  guide,  and  from  the  Middle 
Pitch  all  the  other  divisions  are  determined. 


198  Science  of  Elocution. 

Middle  Pitch. 

Middle  Pitch  may  be  defined  as  the  three,  four,  or  five 
notes  over  which  the  voice  naturally  and  easily  ranges 
in  ordinary  conversation.  To  cultivate  Middle  Pitch 
practice  the  following  sounds,  words,  and  sentences 
upon  the  conversation  or  natural  key. 

Exercises  in  Middle  Pitch. 

1.  a,  as  heard  in  ale,  pale. 

2.  a,     "  "     add,  fat. 

3.  a,     "  "     air,  pair. 

4.  a,      "  "     far,  palm. 

5.  a,     "  "     ask,  dance. 

1.  Speak  the  speech  as  I  pronounced  it  to  you. 

2.  Talk  to  the  point,  and  stop  when  you  reach  it. 

3.  A  voice  soft  and  sweet  as  a  tune  one  loves. 

exercises 
Combining  Form,  Quality,  Force,  Stress,  and  Middle  Pitch. 
Repeat  each  of  the  above  sentences  with 
Expulsive  Form,  Pure  Tone,  Moderate  Force,  Rad- 
ical Stress,  and  Middle  Pitch. 

Middle  Pitch — When  Used. 
The  Middle  Pitch  is  the  appropriate  key  for  the  de- 
livery of  narrative,  didactic,  and  descriptive  thought  in 
the  form  of  scientific  and  literary  lectures,  introductions 
to  speeches,  orations,  and  sermons. 

EXAMPLE :   DIDACTIC  THOUGHT. 

Middle  Pitch,  Radical  Stress,  Moderate  Forte,  Pure  Tone,  Expulsive 
Form. 

Cheerfulness. 
1.  There  is  no  one  quality  that  so  much  attaches  man  to  his 
fellow-man  as  cheerfulness.     Talents  may  excite  more  respect, 
and  virtue  more   esteem,  but  the  respect  is  apt  to  be  distant 


Middle  Pitch.  199 

and  the  esteem  cold.  It  is  far  otherwise  with  cheerfulnesss. 
It  endears  a  man  to  the  heart,  not  the  intellect  or  the  imagina- 
tion. There  is  a  kind  of  reciprocal  diffusiveness  about  this 
quality  that  recommends  its  possessor  by  the  very  effect  it 
produces.  There  is  a  mellow  radiance  in  the  light  it  sheds 
on  all  social  intercourse  which  pervades  the  soul  to  a  depth 
that  the  blaze  of  intellect  can  never  reach. 

2.  The  cheerful  man  is  a  double  blessing — a  blessing  to 
himself  and  to  the  world  around  him.  In  his  own  character 
his  good  nature  is  the  clear  blue  sky  of  his  own  heart,  on 
which  every  star  of  talent  shines  out  more  clearly.  To  others 
he  carries  an  atmosphere  of  joy  and  hope  and  encouragement 
wherever  he  moves.  His  own  cheerfulness  becomes  infectious, 
and  his  associates  lose  their  moroseness  and  their  gloom  in 
the  amber-colored  light  of  the  benevolence  he  casts  around 
him. 

3.  It  is  true  that  cheerfulness  is  not  always  happiness.  The 
face  may  glow  in  smiles  while  the  heart  "runs  in  coldness  and 
darkness  below,"  but  cheerfulness  is  the  best  external  indica- 
tion of  happiness  that  we  have,  and  it  enjoys  this  advantage 
over  almost  every  other  good  quality,  that  the  counterfeit  is 
as  valuable  to  society  as  the  reality.  It  answers  as  a  medium 
of  public  circulation  fully  as  well  as  the  true  coin. 

4.  A  man  is  worthy  of  all  praise,  whatever  may  be  his  pri- 
vate griefs,  who  does  not  intrude  them  on  the  happiness  of  his 
friends,  but  constantly  contributes  his  quota  of  cheerfulness 
to  the  general  public  enjoyment.  "  Every  heart  knows  its 
own  bitterness,"  but  let  the  possessor  of  that  heart  take  heed 
that  he  does  not  distill  it  into  his  neighbor's  cup,  and  thus 
poison  his  felicity. 

5.  There  is  no  sight  more  commendable  and  more  agreeable 
than  a  man  whom  we  know  fortune  has  dealt  with  badly 
smothering  his  own  peculiar  griefs  in  his  own  bosom,  and 
doing  his  duty  in  society  with  an  unruffled  brow  and  a  cheer- 
ful mien.  It  is  duty  which  society  has  a  right  to  demand — a 
portion  of  that  great  chain  which  binds  humanity  together, 
the  links  of  which  every  one  should  preserve  bright  and 
unsullied. 

6.  It  may  be  asked,  what  shall  that  man  do  whose  burdens 
of  grief  are  heavy,  and  made  still  heavier  by  the  tears  he  has 


200  Science  of  Elocution. 

shed  over  them  in  private ;  shall  he  leave  society  ?  Certainly, 
until  he  has  learned  to  bear  his  own  burden.  Shall  he  not 
seek  the  sympathy  of  his  friends  ?  He  had  better  not.  Sym- 
pathy would  only  weaken  the  masculine  strength  of  mind 
which  enables  us  to  endure.  Besides,  sympathy  unsought  for 
is  much  more  readily  given,  and  sinks  deeper  in  its  healing 
effects  into  the  heart.  No,  no,  cheerfulness  is  a  duty  which 
every  man  owes.     Let  him  faithfully  discharge  the  debt. 


Questions. 

1.  Define  Pitch. 

2.  "What  is  said  with  reference  to  the  Pitch  of  sounds  ? 

3.  "What  is  the  difference  between  Pitch  in  elocution  and  Pitch 

in  music? 

4.  Explain  the  discrete  and  concrete  movements  of  the  voice. 

5.  "What  is  our  guide  in  Pitch  in  music  ? 

6.  What  in  elocution  ? 

7.  Should  pupils  in  reading  in  concert  have  the  same  key?  "Why? 

8.  Are  persons  who  read  or  speak  well  generally  good  singers? 

"Why? 

9.  Are  elocution  and  music  mutual  helpers  ? 

10.  If  you  cannot  sing  should  you  be  discouraged  from  studying 

elocution  ? 

11.  What  is  said  of  the  importance  of  control  of  Pitch? 

12.  Mention  some  of  the  emotions  expressed  and  awakened  by 

the  different  divisions  of  Pitch. 

13.  What  are  the  divisions  of  Pitch  in  elocution  ? 

14.  Are  they  fixed  or  flexible  ? 

15.  What  is  the  guide  in  Pitch  in  elocution  ?    In  music  ? 

16.  How  are  the  different  divisions  ascertained? 

17.  Define  Middle  Pitch. 

1 8.  Is  it  the  same  in  all  voices  ? 

19.  When  is  Middle  Pitch  used? 

20.  Why  does  the  selection  require  Middle  Pitch  ? 


Middle  Pitch. 


201 


DIAGRAM  OF  THIRTY-FIFTH  LESSON. 


1.  Exercises. 


2.  Element— Pitch. 


f  Position, 
j  Gesture, 
j  Breathing. 
[  Articulation. 

'  Very  High. 
High. 
Middle. 
Low. 
Very  Low. 

'Definition. 
Illustration. 
Advantages. 

Topic— Middle  Fitch -{  How  Acquired. 

Class  Exercise. 
When  Used. 
b  Example. 
4.  Selection.    "Cheerfulness." 


T  Definition. 

1  Divisions 

I  Illustration. 


LESSON    XXXVI. 

Exercises  in  Articulation. 

t,  as  in  tip. 
top,  tap,  test, 

tent,  tight,  tartar. 

1.  Time  and  tide  wait  for  no  man. 

2.  Tar,  tin,  tallow,  and  turpentine. 

3.  Touch  not,  taste  not,  handle  not. 

4.  Turn  their  uprooted  trunks  toward  the  skies. 

5.  Tremble  and  totter,  ye  adamantine  mountains. 

Low  Pitch. 

Low  Pitch  will  be  the  two,  three,  or  four  notes  below 
the  middle.  To  widen  the  compass  and  to  cultivate  the 
low  tones,  practice  the  following  sounds,  words,  and  sen- 
tences on  a  low  key,  in  both  Effusive  and  Expulsive 
Forms. 


202  Science  of  Elocution. 

Exercises  in  Low  Pitch. 


1. 

o, 

as  in 

no. 

2. 

a, 

u 

ale. 

3. 

a, 

« 

father. 

4. 

e, 

K 

me. 

5. 

u, 

(( 

use. 

arm, 

old, 

orb, 

moon, 

palm,         ocea 

1.  There  is  no  God  but  thee. 

2.  It  is  a  religion  by  which  to  live. 

3.  The  tears  of  a  nation  fall  over  the  dead. 

EXERCISES 

Combining  Form,  Quality,  Force,  Stress,  and  Low  Pitch. 

Repeat  the  first  of  the  above  sentences  with 

1.  Expulsive  Form,  Pure  Tone,  Moderate  Force,  Rad- 
ical Stress,  and  Low  Pitch. 

The  second  and  third  sentences  with 

2.  Effusive  Form,  Orotund  Quality,  Energetic  Force, 
Median  Stress,  Low  Pitch. 

Low  Pitch — When  Used. 
Low  Pitch  is  the  key  appropriate  for  the  delivery  of 
serious,  solemn,  pathetic,  grave,  devotional,  sublime  and 
grand  thoughts  of  a  quiet  and  unimpassioned  character. 

EXAMPLE :   SOLEMN,  PATHETIC,  AND  GRAND. 

Low  Pitch,  Median  and  T/wrough  Stress,  Moderate  Force,  Orotund 
Quality,  Expulsive  and  Effusive  Forms. 

In  Memoriam— A.  Lincoln. 

MRS.    EMILY   J.    BUGBEE. 

1.  There's  a  burden  of  grief  on  the  breezes  of  spring, 
And  a  song  of  regret  from  the  bird  on  its  wing; 
There's  a  pall  on  the  sunshine  and  over  the  flowers, 
And  a  shadow  of  graves  on  these  spirits  of  ours; 


Low  Pitch.  203 

For  a  star  hath  gone  out  from  the  night  of  our  sky, 
On  whose  brightness  we  gazed  as  the  war-cloud  rolled  by ; 
So  tranquil  and  steady  and  clear  were  its  beams, 
That  they  fell  like  a  vision  of  peace  on  our  dreams. 

2.  A  heart  that  we  knew  had  been  true  to  our  weal, 
And  a  hand  that  was  steadily  guiding  the  wheel ; 
A  name  never  tarnished  by  falsehood  or  wrong, 

That  had  dwelt  in  our  hearts  like  a  soul-stirring  song ; 
Ah,  that  pure,  noble  spirit  has  gone  to  its  rest, 
And  the  true  hand  lies  nerveless  and  cold  on  his  breast: 
But  the  name  and  the  memory,  these  never  will  die, 
But  grow  brighter  and  dearer  as  the  ages  go  by. 

3.  Yet  the  tears  of  a  nation  fall  over  the  dead. 
Such  tears  as  a  nation  before  never  shed ; 

For  our  cherished  one  fell  by  a  dastardly  hand, 

A  martyr  to  truth  and  the  cause  of  the  land ; 

And  a  sorrow  has  surged,  like  the  waves  to  the  shore, 

When  the  breath  of  the  tempest  is  sweeping  them  o'er; 

And  the  heads  of  the  lofty  and  lowly  have  bowed 

As  the  shaft  of  the  lightning  sped  out  from  the  cloud. 

4    Not  gathered,  like  Washington,  home  to  his  rest, 
When  the  sun  of  his  life  was  far  down  in  the  west, 
But  stricken  from  earth  in  the  midst  of  his  years, 
With  the  Canaan  in  view,  of  his  prayers  and  his  tears. 
And  the  people,  whose  hearts  in  the  wilderness  failed, 
Sometimes,  when  the  stars  of  their  promise  had  paled, 
$Tow  stand  by  his  side  on  the  mount  of  his  fame, 
And  yield  him  their  hearts  in  a  grateful  acclaim. 

5.  Yet  there  on  the  mountain  our  leader  must  die, 
With  the  fair  land  of  promise  spread  out  to  his  eye ; 
His  work  is  accomplished,  and  what  he  has  done 
Will  stand  as  a  monument  under  the  sun ; 
And  his  name,  reaching  down  through  the  ages  of  time, 
Will  still  through  the  years  of  eternity  shine, 
Like  a  star  sailing  on  through  the  depths  of  the  blue, 
On  whose  brightness  we  gaze  every  evening  anew. 

8.  His  white  tent  is  pitched  on  the  beautiful  plain, 
Where  the  tumult  of  battle  comes  never  again, 


204:  Science  of  Elocution. 

Where  the  smoke  of  the  war-cloud  ne'er  darkens  the  air, 
Nor  falls  on  the  spirit  a  shadow  of  care. 
The  songs  of  the  ransomed  enrapture  his  ear, 
And  he  heeds  not  the  dirges  that  roll  for  him  here ; 
In  the  calm  of  his  spirit,  so  strange  and  sublime, 
He  is  lifted  far  over  the  discords  of  time. 

7.  Then  bear  him  home  gently,  great  son  of  the  West ! 
'Mid  her  fair  blooming  prairies  lay  Lincoln  to  rest, 
From  the  nation  who  loved  him  she  takes  to  her  trust, 
And  will  tenderly  garner  the  consecrate  dust. 
A  Mecca  his  grave  to  the  people  shall  be, 
And  a  shrine  evermore  for  the  hearts  of  the  free. 


Questions. 

1.  What  is  the  element  in  this  lesson? 

2.  What  is  the  topic  ? 

3.  What  the  principle  ? 

4.  Define  Low  Pitch. 

5.  Is  it  the  same  in  all  voices  ? 

6.  Explain  why. 

1.  Why  does  the  selection  require  Low  Pitch  ? 

8.  Why   does  the  selection  require  both  Median  and  Thorough 

Stress  ? 

9.  Are  they  both  on  the  same  word  ? 

10.  Explain  how  both  Effusive  and  Expulsive  Forms  can  be  given 
in  the  selection. 

DIAGRAM  OP  THIRTY-SIXTH  LESSON. 

f  Position. 
,    __         ,  i   Gesture. 

1.  Exercises 1  Breathing. 

[  Articulation 

2.  Element— Pitch. 

Definition. 
Illustration. 
Advantages. 
How  Acquired. 
Class  Exercises, 
When  Used. 
Example. 
4.  Selection.    "  In  Memoriam — A.  Lincoln." 


3.  Topic— Low  Pitch. 


High  Pitch.  205 


LESSON    XXXVII. 

Exercises  in  Articulation. 

k,  as  in  kick, 
kin,  keel,  keep, 

kink,  kirk,  king. 

1.  Kill  a  king. 

2.  Crown  the  victor. 

3.  Keep  thy  own  counsels. 

4.  Kindness  kills  the  cause  of  hate. 

5.  Come  in  consumption's  ghastly  form. 

High   Pitch. 

High  Pitch  to  ill  be  three,  Jive,  or  eight  notes  above 
Middle  Pitch.  Practice  the  following  sounds,  words, 
and  sentences  on  tones  several  notes  higher  than  the 
Middle  Pitch. 


Exercises 

in  High  Pitch. 

1.  e, 

as  in 

let. 

2.  a, 

U 

add. 

3.  a, 

a 

ask. 

4.  o, 

a 

odd. 

5.  ii, 

c< 

up. 

come, 

joy, 

spring, 

winds, 

grass, 

waves. 

1.  And  the  landscape  sped  away  behind. 

2.  I  come,  I  come,  ye  have  called  me  long. 

3.  And  the  earth  resounds  with  the  joy  of  waves. 


206  Science  of  Elocution, 

exercises 

Combining  Form,  Quality,  Force,  Stress,  High  and  Middle  Pitch. 
Repeat  each  of  the  last  sentences  with 

1.  Expulsive    Form,    Pure    Tone,    Moderate    Force, 
Radical  Stress,  High  Pitch. 

2.  Explosive    Form,   Pure   Tone,   Energetic    Force, 
Radical  Stress,  High  Pitch. 

3.  Effusive  Form,  Pure  Tone,  Subdued  Force,  Median 
Stress,  Low  Pitch. 

High  Pitch — When  Used. 

High  Pitch  is  the  key  appropriate  for  the  delivery  of 
animated,  joyous,  gay,  earnest,  and  impassioned  thought. 

EXAMPLE :   ANIMATED  JOYOUS  THOUGHT. 

High  Pitch,  Radical  Stress,  Energetic  Force,  Pure  Tone,  Expulsive  and 
Explosive  Forms. 

I'm  With  You  Once  Again. 

G.    P.    MORRIS. 

1.  I'm  with  you  once  again,  my  friends; 

No  more  my  footsteps  roam; 
Where  it  began  my  journey  ends, 

Amid  the  scenes  of  home. 
No  other  clime  has  skies  so  blue, 

Or  streams  so  broad  and  clear; 
And  where  are  hearts  so  warm  and  true 

As  those  that  meet  me  here? 

2.  Since  last,  with  spirits  wild  and  free, 

I  pressed  my  native  strand, 
I've  wandered  many  miles  at  sea, 

And  many  miles  on  land : 
I've  seen  fair  regions  of  the  earth 

"With  rude  commotion  torn, 
Which  taught  me  how  to  prize  the  worth 

Of  that  where  I  was  born. 


High  Pitch.  307 

3.  In  other  countries,  when  I  heard 

The  language  of  my  own, 
How  fondly  each  familiar  word 

Awoke  an  answering  tone ! 
But  when  our  woodland  songs  were  sung 

Upon  a  foreign  mart, 
The  vows  that  faltered  on  the  tongue 

With  rapture  filled  my  heart. 

4.  My  native  land,  I  turn  to  you 

With  blessing  and  with  prayer, 
Where  man  is  brave  and  woman  true, 

And  free  as  mountain  air. 
Long  may  our  flag  in  triumph  wave 

Against  the  world  combined, 
And  friends  a  welcome,  foes  a  grave, 

Within  our  borders  find. 


Questions. 

1.  Define  High  Pitch. 

2.  When  is  it  appropriately  employed? 

3.  With  what  combinations  will  it  generally  be  found? 

4.  Can  you  have  High  Pitch  with  Effusive  Form  ? 

5.  Can  you  find  an  illustration  in  nature  ? 

6.  Can  you  in  art  ? 

7.  What  is  the  combination  of  the  railroad  whistle  ? 

8.  What  the  neigh  of  a  horse  ? 

DIAGRAM  OP  THIRTY-SEVENTH  LESSON. 

f"  Position. 

1    Exercises  J  Gesture- 

1.  exercises -j  Breathing. 

[  Articulation. 

2.  Element— Pitch. 

Definition. 
Illustration. 
Advantages. 
How  Acquired. 


3.  Topic— High  Pitch. 


Class  Exercises. 
Principle,  or  When  Used. 
Examples. 


4.  Selection.    "  I'm  With  You  Once  Again." 


208  Science  of  Elocution. 


LESSON    XXXVIII. 

Exercises  in  Articulation. 

eh,  as  in  church, 
choose,  cheer,  chat, 

chief,  cherish,  cherub. 

1.  Charge,  Chester!  charge! 

2.  Change  cannot  change  thee. 

3.  Children  choose  trifling  toys. 

4.  Chaucer's  poetry  charmed  the  chief. 

5.  Chaplets  of  chainless  charity  are  for  thee. 

Very  Low  Pitch. 

Very  Low  Pitch  will  be  two  or  three  tones  below  the 
lowest  notes  of  the  Low  Pitch  /  the  range  in  the  lower 
notes  being  much  less  than  in  the  High  or  Middle.  To 
cultivate  the  Very  Low  Pitch  practice  the  following 
sounds,  words,  and  sentences  in  the  lowest  key  possible. 

Exercises  in  Very  Low  Pitch. 

1.  6,  as  in  no. 

2.  a,      "  ace. 

3.  a,      "  father. 

4.  e,      "  me. 

5.  ii,      "  use. 

death,  break,  silence, 

dread,  hollow,  tones. 

1.  And  thou  art  terrible. 

2.  Come  in  consumption's  ghastly  form. 

3.  No  smiting  hand  is  seen;  no  sound  is  heard. 


Very  Low  Pitch.  209 

EXERCISES 
Combining  Form,   Quality,  Force,  Stress,  and  Pitch. 
Repeat  each  of  the  last  sentences  with 

1.  Effusive  Form,  Pectoral  Quality,  Energetic  Force, 
Thorough  Stress,  Very  Low  Pitch. 

2.  Expulsive  Form,  Pure  Tone,  Energetic  Force, 
Radical  Stress,  High  Pitch. 

3.  Effusive  Form,  Orotund  Quality,  Moderate  Force, 
Median  Stress,  Low  Pitch. 

4.  Expulsive  Form,  Pure  Tone,  Moderate  Force, 
Radical  Stress,  Middle  Pitch. 

Very  Low  Pitch — When  Used. 

Very  Low  Pitch  is  the  key  appropriate  for  the  ex- 
pression of  deep  solemnity,  sublimity,  grandeur,  amaze- 
ment, horror,  despair,  melancholy,  awe,  and  gloom. 

EXAMPLE :  DEEP  SOLEMNITY,  AWE,  AND  GLOOM. 

Thorough  Stress,  Energetic  Force,  Orotund  and  Pectoral  Qualities, 
Effusive  and  Expulsive  Fottyis. 

[Only  the  fifth  stanza  in  the  following  selection  requires  the  combination  given 
above,  j 

Marco  Bozzaris. 

FITZ   GREENE   HALLECK. 

1.  At  midnight,  in  his  guarded  tent, 

The  Turk  lay  dreaming  of  the  hour 
When  Greece,  her  knee  in  suppliance  bent, 

Should  tremble  at  his  power ; 
In  dreams,  through  camp  and  court  he  bore 
The  trophies  of  a  conqueror ; 

In  dreams,  his  song  of  triumph  heard ; 
Then  wore  his  monarch's  signet  ring ; 
Then  pressed  that  monarch's  throne — a  king : 
As  wild  his  thoughts,  and  gay  of  wing, 

As  Eden's  garden  bird. 
14 


210  Science  of  Elocution. 

2.  At  midnight,  in  the  forest  shades, 

Bozzaris  ranged  his  Suliote  band, 
True  as  the  steel  of  their  tried  blades, 

Heroes  in  heart  and  hand. 
There  had  the  Persian's  thousands  stood ; 
There  had  the  glad  earth  drunk  their  blood, 

On  old  Plataea's  day; 
And  now  there  breathed  that  haunted  air 
The  sons  of  sires  who  conquered  there, 
With  arm  to  strike,  and  soul  to  dare, 

As  quick,  as  far,  as  they. 

3.  An  hour  passed  on :  the  Turk  awoke : 

That  bright  dream  was  his  last. 
He  woke  to  hear  his  sentries  shriek, 
"  To  arms!  they  come!  the  Greek!  the  Greek! " 
He  woke,  to  die  'midst  flame  and  smoke, 
And  shout,  and  groan,  and  saber  stroke, 

And  death-shots  falling  thick  and  fast 
As  lightnings  from  the  mountain  cloud, 
And  heard,  with  voice  as  trumpet  loud, 

Bozzaris  cheer  his  band : 
"Strike! — till  the  last  armed  foe  expires; 
Strike ! — for  your  altars  and  your  fires ; 
Strike ! — for  the  green  graves  of  your  sires ; 

God,  and  your  native  land ! " 

4.  They  fought  like  brave  men,  long  and  well ; 

They  piled  that  ground  with  Moslem  slain; 
They  conquered — but  Bozzaris  fell, 

Bleeding  at  every  vein. 
His  few  surviving  comrades  saw 
His  smile  when  rang  their  loud  hurrah, 

And  the  red  field  was  won; 
Then  saw  in  death  his  eyelids  close, 
Calmly  as  to  a  night's  repose, — 

Like  flowers  at  set  of  sun. 

5.  Com©  to  the  bridal  chamber,  Death ! 

Come  to  the  mother,  when  she  feels, 
For  the  first  time,  her  first-born's  breath; 
Come  when  the  blessed  seals 


Very  Low  Pitch.  211 

That  close  the  pestilence  are  broke, 
And  crowded  cities  wail  its  stroke ; 
Come  in  consumption's  ghastly  form, 
The  earthquake  shock,  the  ocean  storm ; 
Come  when  the  heart  beats  high  and  warm 

With  banquet  song  and  dance  and  wine ; 
And  thou  art  terrible : — the  tear, 
The  groan,  the  knell,  the  pall,  the  bier, 
And  all  we  know,  or  dream,  or  fear, 

Of  agony,  are  thine. 
But  to  the  hero  when  his  sword 

Hath  won  the  battle  for  the  free, 
Thy  voice  sounds  like  a  prophet's  word. 
And  in  its  hollow  tones  are  heard 

The  thanks  of  millions  yet  to  be. 


Questions. 

1.  What  is  the  element  in  this  lesson? 

2.  What  is  the  topic? 

3.  What  is  the  principle  ? 

4.  Define  Very  Low  Pitch. 

5.  With  what  Qualities  can  it  be  given? 

6.  With  what  Forms. 

7.  When  is  the  Very  Low  Pitch  properly  used  ? 

8.  Why  does  the  fifth  stanza  in  the  above  selection  require  Very 

Low  Pitch  ? 

9.  What  combination  does  the  first  stanz?  require? 

10.  What  combination   does  the  fourth  line  of  the  third  stanza 
require? 

11.  What  combination  do  the  three  lines  next  to  the  last  line  of 
the  third  stanza  require? 

12.  What  does  the  last  line  of  the  third  stanza  require? 

No  further  diagrams   on   Pitch  will  be  given,  but 
teachers  should  require  pupils  to  prepare  them. 


212  Science  of  Elocution. 


LESSON  XXXIX. 

Exercises  in  Articulation. 

f,  as  in  fame, 
fast,  firm,  fate, 

fatal,  fearful,  favor. 

1.  Fast  bind,  fast  find. 

2.  Fortune  favors  the  brave. 

3.  Firm  is  his  faith,  he  falters  not. 

4.  Fast  by  the  throne  fickle  Fame  resides. 

5.  Fasting  he  went  to  sleep,  and  fasting  waked. 

Very  High  Pitch. 

Very  High  Pitch  is  five,  six,  or  eight  notes  above  the 
High.  Practice  the  sounds,  words,  and  sentences  in  as 
high  a  pitch  as  you  can  command.  In  this  exercise  be 
careful  not  to  continue  the  practice  too  long,  lest  the 
voice  may  be  strained  and  thus  temporarily  injured. 

Exercises  in  Very  High  Pitch. 
1.  J,  as  heard  in  ice. 


2.  e, 

a         u 

me. 

3.  6, 

ti                u 

old. 

4.  a, 

u              tt 

age. 

5.  Q, 

a            (( 

up. 

lo, 

joy> 

mists, 

g°> 

shout, 

freedom. 

1. 

Hurrah  !  hurrah !  hurrah  ! 

2. 

Quick !  man  the  life-boat ! 

B, 

Go  ring  the  bells  and  fire  the  guns. 

Very  High  Pitch.  213 

exercises 

Combining  Form,  Quality,  Force,  Stress,  and  Very  High  Pitch. 
Repeat  the  above  sounds,  words,  and  sentences  with 

1.  Expulsive  Form,  Pure  Tone,  Impassioned  Force, 
Thorough  Stress,  and  Very  High  Pitch. 

2.  Expulsive   Form,  Orotund  Quality,  Impassioned 
Force,  Thorough  Stress,  Very  High  Pitch. 

Very  High  Pitch — When  Used. 
Very  High  Pitch  is    the    key   appropriate  for  the 
expression    of  ecstatic  joy,  rapturous  delight,    impas- 
sioned shouting,  calling,  and  commanding. 

exercises 

Illustrating  various  combinations  of  Fitch,  Stress,  Force,   Quality,  and 
Form. 

Repeat  the  sentence,    "  The  world  is  full  of  poetry," 
with 

1.  Expulsive    Form,    Pure   Tone,    Moderate   Force, 
Radical  Stress,  Middle  Pitch. 

2.  Effusive  Form,  Aspirate  Quality,  Subdued  Force, 
Thorough  Stress,  Low  Pitch. 

3.  Explosive   Form,    Orotund   Quality,  Impassioned 
Force,  Radical  Stress,  High  Pitch. 

4.  Effusive  Form,  Pectoral  Quality,  Energetic  Force, 
Thorough  Stress,  Low  Pitch. 

5.  Expulsive    Form,    Aspirate    Quality,    Energetic 
Force,  Final  Stress,  Low  Pitch. 

6.  Effusive  Form,  Pure  Tone,  Subdued  Force,  Median 
Stress,  Low  Pitch. 

7.  Explosive     Form,     Falsetto    Quality,    Energetic 
Force,  Radical  Stress,  Very  High  Pitch. 

8.  Expulsive  Form,   Guttural  Quality,   Impassioned 
Force,  Final  Stress,  Low  Pitch. 


214  Science  of  Elocution. 

9.  Effusive  Form,  Oral  Quality,  Subdued  Force,  In- 
termittent Stress,  Low  Pitch. 

10.  Expulsive    Form,  Orotund  Quality,  Impassioned 
Force,  Thorough  Stress,  High  Pitch. 

Repeat  the  same  sentence  so  it  will  express 

1.  Pathos. 

2.  Scolding. 

3.  Secret  Thought. 

4.  Awe  and  Dread. 

5.  Didactic  Thought. 

6.  Suppressed  Command. 

1.  Calling  or  Commanding. 

8.  Sudden  and  Violent  Alarm. 

9.  Great  Weakness  and  Suffering. 

EXAMPLE:    IMPASSIONED  COMMAND   AND  ECSTATIC 

JOY. 

Very  High  Pitch,   Thorough  and  Radical  Stress,  Impassioned  Force, 
Pure  Tone,  Expulsive  and  Explosive  Forms. 

"The  Life-Boat." 


Quick !  man  the  life-boat !     See  yon  bark, 

That  drives  before  the  blast ! 
There's  a  rock  ahead,  the  night  is  dark, 

And  the  storm  comes  thick  and  fast. 
Can  human  power,  in  such  an  hour, 

Avert  the  doom  that's  o'er  her  ? 
Her  mainmast's  gone,  but  she  still  drives  on 

To  the  fatal  reef  before  her. 

The  life-boat !     Man  the  life-boat  1 

Quick !  man  the  life-boat !  hark !  the  gun 
Booms  through  the  vapory  air; 

And  see  I  the  signal  flags  are  on, 
And  speak  the  ship's  despair. 


Very  High  Pitch.  215 

That  forked  flash,  that  pealing  crash, 

Seemed  from  the  wave  to  sweep  her ; 
She's  on  the  rock,  with  a  terrible  shock  — 

And  the  wail  comes  louder  and  deeper. 

The  life-boat !     Man  the  life-boat ! 

Quick !  man  the  life-boat !     See — the  crew 

Gaze  on  their  watery  grave : 
Already  some,  a  gallant  few, 

Are  battling  with  the  wave ; 
And  one  there  stands,  and  wrings  his  hands, 

As  thoughts  of  home  come  o'er  him ; 
For  his  wife  and  child,  through  the  tempest  wild, 

He  sees  on  the  heights  before  him. 
The  life-boat !     Man  the  life-boat ! 
Speed,  speed  the  life-boat !    Off  she  goes ! 

And,  as  they  pulled  the  oar, 
From  shore  and  ship  a  cheer  arose 

That  startled  ship  and  shore. 
Life-saving  ark!  yon  fated  bark 

Has  human  lives  within  her ; 
And  dearer  than  gold  is  the  wealth  untold 

Thou'lt  save  if  thou  canst  win  her. 
On  life-boat!     Speed  the  life-boat! 
Hurrah!    The  life-boat  dashes  on, 

Though  darkly  the  reef  may  frown; 
The  rock  is  there — the  ship  has  gone 

Full  twenty  fathoms  down. 
But,  cheered  by  hope,  the  seamen  cope 

With  billows  single-handed: 
They  are  all  in  the  boat! — hurrah!     They're  afloat! 

And  now  they  are  safely  landed 
By  the  life-boat. 

Cheer  the  life-boat ! 

Hurrah !     Hurrah  for  the  life-boat ! 


Questions. 

1.  Define  Very  High  Pitch.    Wheu  is  it  used  ? 

2.  Why  does  the  selection  require  Very  High  Pitch  ? 

3.  What  combination  does  the  first  word  of  first  stanza  require? 

4.  What  combination  first  word  of  last  stanza? 


216  Science  of  Elocution. 


LESSON  XL. 

Exercises  in  Articulation. 

th,  as  in  think, 
thick,  thin,  through, 

breath,  hath,  birth. 

1.  Thrust  the  thorn  into  the  flesh. 

2.  Thick  and  thicker  fell  the  hail. 

3.  Thanks  to  the  thoughtful  giver. 

4.  Through  the  thronged  crowd  he  thrust  his  way. 

5.  Three  thousand  thistles  were  thrust  through  his 
thumb. 

MOVEMENT. 

Movement  is  the  rate  with  which  words  and  sentences 
are  uttered.  It  includes  not  only  the  length  of  time 
occupied  in  the  utterance  of  words,  but  the  pauses 
between  the  words  and  sentences.  It  is  really  a  com- 
bination of  quantity  and  pauses. 

Advantages. 

Movement  is  an  element  of  immense  power  and 
wonderful  effect  when  properly  employed.  But  it 
must  be  skillfully  used.  Every  mood  of  mind,  every 
variety  of  emotion,  every  burst  of  passion  has  its 
appropriate  movement.  Solemnity  must  move  slowly, 
joy  rapidly,  argument  moderately,  and  excitement 
hurriedly.  This  is  indicated  by  the  slow  and  measured 
step  of  the  funeral  march,  the  rapid  movement  of  the 
merry  dance,  the  firm  but  moderate  step  of  the  deter- 
mined army. 


Moderate  Movement.  217 

No  defect  sooner  wearies  the  hearer  or  more  cer- 
tainly kills  the  effect  of  expression  than  a  drawling, 
lifeless  movement,  and  continuous  rapidity  as  certainly 
destroys  all  deep  and  impressive  utterance.  No  ele- 
ment should  be  more  carefully  practiced  than  move- 
ment. The  general  divisions  of  this  element  are  Very 
Rapid,  Rapid,  Moderate,  Slow,  and  Very  Slow. 

moderate  Movement. 

Moderate  is  that  rate  used  in  ordinary  conversation  by 
persons  who  have  not  fallen  into  incorrect  habits. 

It  must  not  be  understood  that  Moderate  Movement 
is  a  fixed  rate  to  which  all  persons  must  conform,  but 
one  that  will  vary  with  different  temperaments.  That 
which  would  be  moderate  for  one  may  be  slow  for 
another.  From  Moderate  Movement  all  the  other  divi- 
sions are  determined.  Exercise  in  movement  may  be 
practiced  on  sounds  and  words,  but  they  can  be  better 
illustrated  with  sentences.  Practice  each  of  the  fol- 
lowing sentences  a  number  of  times  with  a  Moderate 
Movement  in  the  following  combination. 

Exercises  in  Moderate  Movement. 
Middle  Pitch,  Radical  Stress,  Moderate  Force,  Pure  Tone,  Expulsive  Form. 

1.  We  will  have  rain  to-night. 

2.  The  true  American  patriot  is  ever  a  worshiper. 

3.  Speak  the  speech,  I  pray  you,  as  I  pronounced  it  to 
you. 

4.  I  have  been  accused  of  ambition  in  presenting 
this  measure. 

Moderate  Movement — When  Used. 
Moderate  Movement  is  appropriate  for  the  delivery  of 
narrative,  didactic,  and  unimpassioned  thought  in  the 
form  of  scientific  and  literary  lectures  and  introductions 
to  speeches. 


218  Science  of  Elocution. 


EXAMPLE :  DESCRIPTIVE  AND  DIDACTIC. 

Moderate  Movement,  Middle  Pitch,  Radical  Stress,  Moderate  Force,  Fure 
Tme,  Expulsive  Form. 

An  Order  for  a  Picture. 

Alice  Cary. 

1.  O,  good  painter,  tell  me  true, 

Has  your  hand  the  cunning  to  draw 
Shapes  of  things  that  you  never  saw  ? 
Ay?    Well,  here  is  an  order  for  you. 

2.  Woods  and  cornfields,  a  little  brown — ■ 

The  picture  must  not  be  over-bright, 

Yet  all  in  the  golden  and  gracious  light 
Of  a  cloud  when  the  summer  sun  is  down. 

Alway  and  alway,  night  and  morn, 

Woods  upon  woods,  with  fields  of  corn 
Lying  between  them,  not  quite  sear, 
And  not  in  the  full,  thick,  leafy  bloom, 
When  the  wind  can  hardly  find  breathing  room 

Under  their  tassels — cattle  near, 
Biting  shorter  the  short  green  grass, 
And  a  hedge  of  sumach  and  sassafras, 
With  bluebirds  twittering  all  around, — 
(Ah,  good  painter,  you  can't  paint  sound  !) 

These,  and  the  house  where  I  was  born, 
Low  and  little,  and  black  and  old, 
With  children,  many  as  it  can  hold, 
All  at  the  windows,  open  wide — 
Heads  and  shoulders  clear  outside, 
And  fair  young  faces  all  ablush : 

Perhaps  you  may  have  seen,  some  day, 

Roses  crowding  the  self-same  way, 
Out  of  a  wilding,  way-side  bush. 

3.  Listen  closer :    When  you  have  done 

With  wToods  and  cornfields  and  grazing  herds, 
A  lady,  the  loveliest  ever  the  sun 
Looked  down  upon,  you  must  paint  for  me; 
0»  if  I  only  could  make  you  see 


Moderate  Movement.  219 

The  clear  blue  eyes,  the  tender  smile, 
The  sovereign  sweetness,  the  gentle  grace, 
The  woman's  soul,  and  the  angel's  face, 

That  are  beaming  on  me  all  the  while, 
I  need  not  speak  these  foolish  words: 

Yet  one  word  tells  you  all  I  would  say — 
She  is  my  mother :  you  will  agree 

That  all  the  rest  may  be  thrown  away. 

4.  Two  little  urchins  at  her  knee 
You  must  paint,  sir ;  one  like  me, 
The  other  with  a  clearer  brow, 

And  the  light  of  his  adventurous  eyes 

Flashing  with  boldest  enterprise: 
At  ten  years  old  he  went  to  sea — 

God  knoweth  if  he  be  living  now: 

He  sailed  in  the  good  ship  Commodore ; 
Nobody  ever  crossed  her  track 
To  bring  us  news,  and  she  never  came  back. 

Ah,  'tis  twenty  long  years  and  more 
Since  that  old  ship  went  out  of  the  bay 

With  my  great-hearted  brother  on  her  deck : 

I  watched  him  till  he  shrank  to  a  speck, 
And  his  face  was  toward  me  all  the  way. 
Bright  his  hair  was,  a  golden  brown, 

The  time  we  stood  at  our  mother's  knee : 
That  beauteous  head,  if  it  did  go  down, 

Carried  sunshine  into  the  sea! 

5.  Out  in  the  fields  one  summer  night 
We  were  together,  half  afraid 
Of  the  corn-leaves'  rustling,  and  of  the  shade 
Of  the  high  hills,  stretching  so  still  and  far- 
Loitering  till  after  the  low  little  light 

Of  the  candle  shone  through  the  open  door ; 
And  over  the  haystack's  pointed  top, 
All  of  a  tremble,  and  ready  to  drop, 

The  first  half-hour,  the  great  yellow  star, 
That  we,  with  staring,  ignorant  eyes, 
Had  often  and  often  watched  to  see, 

Propped  and  held  in  its  place  in  the  skies 


220  Science  of  Elocution. 

By  the  fork  of  a  tall  red  mulberry-tree, 

Which  close  in  the  edge  of  our  flax  field  grew — > 

Dead  at  the  top — just  one  branch  full 

Of  leaves  notched  round,  and  lined  with  wool, 
From  which  it  tenderly  shook  the  dew 

Over  our  heads,  when  we  came  to  play 

In  its  handbreadth  of  shadow,  day  after  day. 
Afraid  to  go  home,  sir ;  for  one  of  us  bore 

A  nest  full  of  speckled  and  thin-shelled  eggs ; 

The  other  a  bird  held  fast  by  the  legs, 

Not  so  big  as  a  straw  of  wrheat : 

The  berries  we  gave  her  she  wouldn't  eat, 

But  cried  and  cried,  till  we  held  her  bill, 

So  slim  and  shining,  to  keep  her  still. 

6.  At  last  we  stood  at  our  mother's  knee. 

Do  you  think,  sir,  if  you  try, 

You  can  paint  the  look  of  a  lie  ? 

If  you  can,  pray  have  the  grace 

To  put  it  solely  in  the  face 
Of  the  urchin  that  is  likest  me  : 

I  think  'twas  solely  mine  indeed : 

But  that's  no  matter — paint  it  so; 

The  eyes  of  our  mother  (take  good  heed), 
Looking  not  on  the  nestful  of  eggs, 
Nor  the  fluttering  bird  held  so  fast  by  the  legs, 
But  straight  through  our  faces  down  to  our  lies, 
And  O,  with  such  injured,  reproachful  surprise! 

I  felt  my  heart  bleed  where  that  glance  went  as  though 

A  sharp  blade  stuck  through  it. 

7.  You,  sir,  know 
That  you  on  the  canvas  are  to  repeat 

Things  that  are  fairest,  things  most  sweet — 

Woods  and  cornfields  and  mulberry-tree — 

The  mother — the  lads,  with  their  bird,  at  her  knee: 

But  O,  that  look  of  reproachful  woe! 
High  as  the  heavens  your  name  I'll  shout, 
If  you  paint  me  the  picture  and  leave  that  out. 


Moderate  Movement.  221 


Questions. 

1.  What  is  the  element  in  this  lesson? 

2.  What  the  topic? 

3.  What  the  principle  ? 

4.  Define  movement. 

5.  Is  it  a  simple  or  a  compound  element? 

6.  What  is  said  of  the  importance  of  Movement  ? 

7.  What  of  its  improper  use  ? 

8   What  are  the  divisions  of  Movement  ? 
9.  Define  Moderate  Movement. 

10.  Is  it  a  fixed  rate  or  does  it  vary  with  different  persons? 

11.  With  what  combination  will  Moderate  Movement  generally  be 

found  ? 

12.  In  the  expression  of  what  style  of  thought  and  feeling  should 

we  use  Moderate  Movement? 

13.  Why  does  the  selection  require  Moderate  Movement? 

14.  What  elements  should  be  changed  in  giving  the  seventh  line  of 

the  fourth  stanza  ?    Why  ? 

15.  In  the  sixth  and  seventh  stanzas  what  elements  should  be 

slightly  changed  ? 

DIAGRAM  OP  FORTIETH  LESSON. 


1.  Exercises. 


f  Position. 
J  Gesture, 
j  Breathing. 
I  Articulation. 

C  f  Very  Rapid. 

I  Definition.      |  Rapid. 

2.  Element — Movement. . .  -I  Divisions J.  Moderate. 

Illustration.     Slow. 
*•  I  Very  Slow. 

Definition. 
Illustration. 
Advantages. 
How  Acquired 
Class  Exercises 
When  Used. 
„  Example. 

4.  Selection.     "  An  Order  for  a  Picture." 


3.  Topic— Moderate  Movement. 


222  Science  of  Elocution. 


LESSON    XLI. 
Exercise  in  Articulation. 


s,  as  in  sound. 

sing, 

sour, 

sight, 

song, 

suns, 

systems. 

1.  Send  us  the  Spirit  of  the  Son. 

2.  See  the  stars  from  heaven  falling. 

3.  Soldiers,  sailors,  seamen,  all  were  lost. 

4.  Star  after  star  from  heaven's  high  arch  shall  rush. 

5.  Sans  teeth,  sans  eyes,  sans  taste,  sans  every  thing. 

Slow  movement. 

Slow  Movement  may  be  defined  as  that  rate  in  which 
words  are  uttered  but  little  more  than  half  as  rapidly  as 
Moderate  Movement.  Like  the  Moderate,  it  will  vary 
greatly.  It  gives  dignity,  gravity,  and  solemnity  to 
utterance.     It  can  be  given  with  various  combinations. 

Exercises  in  Slow  Movement. 

Low  Pitch,  Thorough  Stress,  Moderate  Force,  Oro- 
tund Quality,  Effusive  Form. 

1.  The  groves  were  God's  first  temples. 

2.  He  rests  his  head  upon  the  lap  of  earth. 

3.  O'er  all  the  world  a  solemn  silence  steals. 
Repeat  the  above  sentences  several  times  with 

1.  Slow  Movement,  Low  Pitch,  Median  Stress,  Mod- 
erate Force,  Orotund  Quality,  Effusive  Form. 

2.  Slow  Movement,  Low  Pitch,  Thorough  Stress, 
Moderate  Force,  Pure  Tone,  Expulsive  Form. 


Slow  Movement.  223 

Slow  Movement — When  Used. 

Slow  Movement  is  appropriate  for  the  expression  of 
solemn,  serious,  grave,  and  devotional  thought. 

The  first  stanza  of  the  following  selection  will  require 
the  first  combination  given  below;  the  second,  the 
second  combination.  In  the  remaining  stanzas  it  will 
vary,  some  lines  requiring  one,  some  the  other. 

EXAMPLE :  SOLEMNITY,  SUBLIMITY,  AND  DEVOTION. 

Expulsive  Form,  Pure  Tone,  Moderate  Force,  TJiorough  Stress,  Low 
Pitch,  Slow  Movement,   Effusive  Form,  Orotund  Quality,  Median 


God's  First  Temples. 

W.  C.  BRYANT. 

The  groves  were  God's  first  temples.     Ere  man  learned 

To  hew  the  shaft,  and  lay  the  architrave, 

And  spread  the  roof  above  them,  ere  he  framed 

The  lofty  vault,  to  gather  and  roll  back 

The  sound  of  anthems,  in  the  darkling  wood, 

Amidst  the  cool  and  silence,  he  knelt  down 

And  offered  to  the  Mightiest  solemn  thanks 

And  supplication.     For  his  simple  heart 

Might  not  resist  the  sacred  influences 

That,  from  the  stilly  twilight  of  the  place, 

And  from  the  gray  old  trunks,  that  high,  in  heaven, 

Mingled  their  mossy  boughs,  and  from  the  sound 

Of  the  invisible  breath,  that  swayed  at  once 

All  their  green  tops,  stole  over  him,  and  bowed 

His  spirit  with  the  thought  of  boundless  Power 

And  inaccessible  Majesty.     Ah,  why 

Should  we,  in  the  world's  riper  years,  neglect 

God's  ancient  sanctuaries,  and  adore 

Only  among  the  crowd,  and  under  roofs 

That  our  frail  hands  have  raised  ?    Let  me,  at  least, 

Here,  in  the  shadow  of  the  ancient  wood, 

Offer  one  hymn ;  thrice  happy  if  it  find 

Acceptance  in  his  ear. 


224  Science  of  Elocution. 

2.  Father,  thy  hand 
Hath  reared  these  venerable  columns :  thou 

Didst  weave  this  verdant  roof.     Thou  didst  look  down 
Upon  the  naked  earth,  and  forthwith  rose 
All  these  fair  ranks  of  trees.     They  in  thy  sun 
Budded,  and  shook  their  green  leaves  in  thy  breeze, 
And  shot  toward  heaven.     The  century-living  crow, 
Whose  birth  was  in  their  tops,  grew  old  and  died 
Among  their  branches,  till  at  last  they  stood, 
As  now  they  stand,  massy  and  tall  and  dark, 
Fit  shrine  for  humble  worshiper  to  hold 
Communion  with  his  Maker. 

3.  Here  are  seen 
No  traces  of  man's  pomp  or  pride ;  no  silks 
Rustle,  no  jewels  shine,  nor  envious  eyes 
Encounter ;  no  fantastic  carvings  show 

The  boast  of  our  vain  race  to  change  the  form 
Of  thy  fair  works.     But  thou  art  here ;  thou  fill'st 
The  solitude.     Thou  art  in  the  soft  winds 
That  run  along  the  summits  of  these  trees 
In  music ;  thou  art  in  the  cooler  breath, 
That,  from  the  inmost  darkness  of  the  place, 
Comes,  scarcely  felt ;  the  barky  trunks,  the  ground, 
The  fresh,  moist  ground,  are  all  instinct  with  thee. 

Here  is  continual  worship ;  Nature  here, 
In  the  tranquillity  that  thou  dost  love, 
Enjoys  thy  presence.     Noiselessly  around, 
From  perch  to  perch  the  solitary  bird 
Passes;  and  yon  clear  s]3ring,  that,  'midst  its  herbs, 
Wells  softly  forth,  and  visits  the  strong  roots 
Or  half  the  mighty  forest,  tells  no  tale 
Of  all  the  good  it  does. 

4.  Thou  hast  not  left 
Thyself  without  a  witness,  in  these  shades, 

Of  thy  perfections.     Grandeur,  strength,  and  grace 
Are  here  to  speak  of  thee.     This  mighty  oak — 
By  whose  immovable  stem  I  stand,  and  seem 
Almost  annihilated — not  a  prince, 
In  all  the  proud  old  world  beyond  the  deep, 


Slow  Movement.  225 

Ere  wore  his  crown  as  loftily  as  he 

Wears  the  green  coronal  of  leaves  with  which 

Thy  hand  has  graced  him.     Nestled  at  its  root 

Is  beauty  such  as  blooms  not  in  the  glare 

Of  the  broad  Sun.     That  delicate  forest  flower, 

With  scented  breath,  that  looks  so  like  a  smile, 

Seems,  as  it  issues  from  the  shapeless  mold, 

An  emanation  of  th'  indwelling  life, 

A  visible  token  of  the  upholding  love, 

That  is  the  soul  of  this  wide  universe. 

fi.       My  heart  is  awed  within  me  when  I  think 
Of  the  great  miracle  that  still  goes  on, 
In  silence  round  me — the  perpetual  work 
Of  thy  creation,  finished,  yet  renewed 
Forever.     Written  on  thy  works  I  read 
The  lesson  of  thy  own  eternity. 
Lo!  all  grow  old  and  die;  but  see,  again, 
How,  on  the  faltering  footsteps  of  decay, 
Youth  presses — ever  gay  and  beautiful  Youth — 
In  all  its  beautiful  forms.     These  lofty  trees 
Wave  not  less  proudly  that  their  ancestors 
Molder  beneath  them. 

6.  O  there  is  not  lost 
One  of  earth's  charms :  upon  her  bosom  yet, 
After  the  flight  of  untold  centuries, 

The  freshness  of  her  far  beginning  lies, 
And  yet  shall  lie.     Life  mocks  the  idle  hate 
Of  his  arch  enemy,  Death ;  yea,  seats  himself 
Upon  the  sepulcher,  and  blooms  and  smiles, 
And  of  the  triumphs  of  his  ghastly  foe 
Makes  his  own  nourishment.     For  he  came  forth 
From  thine  own  bosom  and  shall  have  no  end. 

7.  There  have  been  holy  men  who  hid  themselves 
Deep  in  the  woody  wilderness,  and  gave 

Their  lives  to  thought  and  prayer,  till  they  outlived 
The  generation  born  with  them,  nor  seemed 
Less  aged  than  the  hoary  trees  and  rocks 
Around  them ;  and  there  have  been  holy  men 
Who  deemed  it  were  not  well  to  pass  life  thus. 
15 


Science  of  Elocution. 

But  let  me  often  to  these  .solitudes 
Retire,  and,  in  thy  presence,  re-assure 
My  feeble  virtue.     Here,  its  enemies, 
The  passions,  at  thy  plainer  footstep,  shrink, 
And  tremble,  and  are  still. 

8.  O  God,  when  thou 

Dost  scare  the  world  with  tempests,  set  on  fire 
The  heavens  with  falling  thunderbolts,  or  fill, 
With  all  the  waters  of  the  firmanent, 
The  swift,  dark  whirlwind,  that  uproots  the  woods 
And  drowns  the  villages;  whe*n,  at  thy  call, 
Uprises  the  great  deep,  and  throws  himself 
Upon  the  continent,  and  overwhelms 
Its  cities ;  who  forgets  not,  at  the  sight 
Of  these  tremendous  tokens  of  thy  power, 
His  pride,  and  lays  his  strifes  and  follies  by? 
O,  from  these  sterner  aspects  of  thy  face 
Spare  me  and  mine;  nor  let  us  need  the  wrath 
Of  the  mad,  unchained  elements,  to  teach 
Who  rules  them.     Be  it  ours  to  meditate, 
In  these  calm  shades,  thy  milder  majesty, 
And  to  the  beautiful  order  of  thy  works 
Learn  to  conform  the  order  of  our  lives. 


Questions. 

1.  Define  Slow  Movement. 

2.  When  is  it  used  ? 

3.  Why  does  the  first  part  of  the  selection  require  Expulsive  Form  ? 

4.  Why  Slow  Movement  ? 

5.  Do  all  the  stanzas  after  the  second  require  the  Orotund  Effu- 

sive? 

6.  What  quality  does  the  first  part  of  the  eighth  stanza  require  ? 

•Why? 


Slow  Movement.  227 

DIAGRAM  OF  FORTY-FIRST  LESSON. 

1.  Review  Last  Lesson. 

{Position. 
Gesture. 
Breathing. 
Articulation. 

3.  Element — Movement. 

f  Definition. 
I  Illustration. 

„    m      •       m        ««■  *  J  How  Acquired 

4.  Topic-Slow  Movement <j  Clasg  ExJrci8ee 

When  Used. 
Example. 

5.  Selection.     "  God's  First  Temples." 


LESSON     XLII. 

Exercises   in   Articulation. 

sh,  as  in  shame, 
shun,  show,  shroud, 

shine,  ship,  shrine. 

1.  Shout,  shout  aloud  for  joy  ! 

2.  She  sang  the  song  of  the  shirt. 

3.  Shrines  shall  guard  the  sacred  dust. 

4.  Shakespeare,  Shelley,  and  Sheridan. 

5.  Ships,  sailorless,  lay  rotting  on  the  sea. 

Rapid  movement. 

Rapid  Movement  is  that  rate  which  utters  twice  the 
number  of  words  in  a  tninute  that  would  he  spoken  by 
Moderate  Movement.  It  gives  sprightliness,  bright- 
ness, energy,  and  intensity  to  expression. 


228  Science  of  Elocution. 

Exercises  in  Rapid  Movement. 
High  Pitch,  Radical  Stress,  Energetic  Force,  Pure 
Tone,  Expulsive  and  Explosive  Forms. 

1.  The  world  is  full  of  poetry. 

2.  Go  ring  the  bells  and  fire  the  guns,  and  fling  the 
starry  banner  out. 

3.  Under  his  spurning  feet  the  road,  like  an  arrowy 
Alpine  river,  flowed. 

Rapid  Movement — When  Used. 
Rapid  Movement  is  appropriate  for  the  delivery  of 
animated,  joyous  thought,  impassioned  and  indig- 
nant emotion.  It  is  the  appropriate  rate  for  the 
utterance  of  all  playful,  humorous,  and  mirthful  moods 
and  it  sometimes  gives  its  characterise  effect  to  fear  and 
terror. 

EXAMPLE  :    JOY  AND  EXULTATION. 

Expulsive  and  Explosive  Forms,  Pure  Tone,  Energetic  Force,  Radical 

Stress,  High  Pitch,  Rapid  Movement. 

Young  Lochinvar. 

SCOTT. 

1.  O,  young  Lochinvar  is  come  out  of  the  west! 
Through  all  the  wide  border  his  steed  was  the  best; 
And  save  his  good  broadsword  he  weapon  had  none; 
He  rode  all  unarmed,  and  he  rode  all  alone. 

So  faithful  in  love,  and  so  dauntless  in  war, 
There  never  was  knight  like  the  young  Lochinvar. 

2.  He  stayed  not  for  brake,  and  he  stopped  not  for  stone ; 
He  swam  the  Eske  River,  where  ford  there  was  none ; 
But  ere  he  alighted  at  Netherby  gate 

The  bride  had  consented,  the  gallant  came  late; 
For  a  laggard  in  love,  and  a  dastard  in  war, 
Was  to  wed  the  fair  Ellen  of  brave  Lochinvar. 

3.  So  boldly  he  entered  the  Netherby  hall, 

'Mong  bridesmen,  and  kinsmen,  and  brothers,  and  all. 


Rapid  Movement. 

Then  spoke  the  bride's  father,  his  hand  on  his  sword 
(For  the  poor  craven  bridegroom  said  never  a  word), 
"  O  come  ye  in  peace  here,  or  come  ye  in  war, 
Or  to  dance  at  our  bridal,  young  Lord  Lochinvar?  " 

i.  "  I  long  wooed  your  daughter,  my  suit  you  denied; 
Love  swells  like  the  Sol  way,  but  ebbs  like  its  tide ; 
And  now  am  I  come,  with  this  lost  love  of  mine, 
To  lead  but  one  measure,  drink  one  cup  of  wine. 
There  be  maidens  in  Scotland,  more  lovely  by  far, 
That  would  gladly  be  bride  to  the  young  Lochinvar." 

5.  The  bride  kissed  the  goblet,  the  knight  took  it  up, 
He  quaffed" off  the  wine,  and  he  threw  down  the  cup ; 
She  looked  down  to  blush,  she  looked  up  to  sigh, 
With  a  smile  on  her  lips  and  a  tear  in  her  eye. 

He  took  her  soft  hand  ere  her  mother  could  bar, 
11  Now  tread  we  a  measure,"  said  young  Lochinvar. 

6.  So  stately  his  form,  and  so  lovely  her  face, 
That  never  a  hall  such  a  galliard  did  grace, 

While  her  mother  did  fret,  and  her  father  did  fume, 
And  the  bridegroom  stood  dangling  his  bonnet  and  plume, 
And  the  bride-maidens  whispered,  "  'Twere  better  by  far 
To  have  matched  our  fair  cousin  with  young  Lochinvar." 

7.  One  touch  to  her  hand,  and  one  word  in  her  ear 

When  they  reached  the  hall-door,  and  the  charger  stood 

near; 
So  light  to  the  croup  the  fair  lady  he  swung, 
So  light  to  the  saddle  before  her  he  sprung. 
"  She  is  won!  we  are  gone — over  bank,  bush,  and  scaur — 
They'll    have    swift    steeds    that    follow,"    quoth   young 
Lochinvar. 

8.  There  was  mounting  'mong  Graemes  of  the  Netherby  clan, 
Forsters,  Fenwicks,   and  Musgraves,   they  rode  and  they 

ran; 
There  was  racing  and  chasing  on  Cannobie  Lee, 
But  the  lost  bride  of  Netherby  ne'er  did  they  see. 
So  daring  in  love,  and  so  dauntless  in  war, 
Have  ye  e'er  heard  of  a  gallant  like  young  Lochinvar  ? 


230  Science  of  Elocution. 

Questions. 

1.  What  is  the  element  in  this  lesson? 

2.  Define  it. 

3.  What  is  the  topic  ?     Define  it. 

4.  What  is  the  principle?     State  it. 

5.  With  what  combination  should  the  last  two  lines  of  the  third 

stanza  be  given  ? 

6.  With  what  combination  the  fourth  stanza? 

7.  With  what  the  last  line  of  the  sixth  stanza? 


LESSOX   XLIII. 

Exeecises    in    Articulation. 

h,  as  in  hope, 
hold,  hand,  hard, 

harp,  harsh,  herds. 

1.  Hail,  holy  light. 

2.  How  high  the  heavens  appear ! 

3.  How  heavy  the  hunter's  tread  ! 

4.  His  horsemen  hard  behind  us  ride. 

5.  He  heaved  a  huge  stone  up  the  hill. 

6.  Heroes  have  hearts  for  noble  deeds. 

Very  Slow  movement. 

Very  Slow  Movement  is  that  rate  in  which  toords  are 
uttered  very  deliberately  and  with  very  long  pauses.  Not 
more  than  one  fourth  as  many  words  can  be  spoken 
with  Very  Slow  as  with  Moderate  Movement.  It  is 
the  Very  Slow  Movement  that  gives  solemnity,  awe, 
and  dread  to  utterance.  To  cultivate  this  rate  prac- 
tice the  sentences  with  the  utmost  deliberation  and 
very  long  pauses. 


Very  Slow  Movement.  231 

Exercises  in  Very  Slow  Movement. 
Very  Low  Pitch,  Thorough  Stress,  Energetic  Force, 
Pectoral  and  Orotund  Qualities,  Effusive  Form. 

1.  'Tis  a  time  for  memory  and  for  tears. 

2.  Light-giving,  life-sustaining  Potentate  ! 

3.  Thy  splendor  fills  all  space  with  rays  divine. 

4.  Thou  art  and  wert  and  shalt  be !  Glorious !  Great : 

5.  The  Lord  is  in  his  holy  temple,  let  all  the  earth 
keep  silence  before  him. 

Very  Slow  Movement — When  Used. 
Very  Slow  Movement  is  appropriate  for  the  expres- 
sion of  profound  reverence,  deep  solemnity,  adoration^ 
amazement,  awe,  and  horror. 

EXAMPLE  :    DEEP  SOLEMNITY  AND  AWE. 

Very  Slow  Movement,  Very  Low  Pitch,  Thorough  Stress,  Moderate 
and  Energetic  Force,  Orotund  and  Pectoral  Qualities,  Effusive  and 
Expulsive  Forms. 

Cato's  Soliloquy- 

JOSEPH  ADDISON. 

It  must  be  so — Plato,  thou  reason'st  well!  — 

Else,  whence  this  pleasing  hope,  this  fond  desire, 

This  longing  after  immortality  ? 

Or  whence  this  secret  dread  and  inward  horror 

Of  falling  into  naught  ?     Why  shrinks  the  soul 

Back  on  herself,  and  startles  at  destruction  ?  — 

'Tis  the  divinity  that  stirs  within  us ; 

'Tis  heaven  itself  that  points  out  an  hereafter, 

And  intimates  eternity  to  man. 

Eternity!  —  thou  pleasing,  dreadful  thought! 

Through  what  variety  of  untried  being, 

Through  what  new  scenes  and  changes  must  we  pass! 

The  wide,  th'  unbounded  prospect  lies  before  me ; 

But  shadows,  clouds,  and  darkness  rest  upon  it. 

Here  will  I  hold.     If  there's  a  power  above  us — 


232  Science  of  Elocution. 

And  that  there  is,  all  nature  cries  aloud 

Through  all  her  works — He  must  delight  in  virtue ; 

And  that  which  he  delights  in  must  be  happy. 

But  when  ?  or  where  ?    This  world — was  made  for  Caesar. 

I'm  weary  of  conjectures — this  must  end  them. 

Thus  am  I  doubly  armed.    My  death  and  life, 

My  bane  and  antidote,  are  both  before  me. 

This,  in  a  moment,  brings  me  to  an  end ; 

But  this  informs  me  I  shall  never  die ! 

The  soul,  secured  in  her  existence,  smiles 

At  the  drawn  dagger,  and  defies  its  point. 

The  stars  shall  fade  away,  the  Sun  himself 

Grow  dim  with  age,  and  Nature  sink  in  years  ■ 

But  thou  shalt  flourish  in  immortal  youth, 

Unhurt  amid  the  war  of  elements, 

The  wreck  of  matter,  and  the  crash  of  worlds  I 


Questions. 

1.  Define  Very  Slow  Movement.     Illustrate  it. 

2.  Illustrate  Moderate  Movement,  Slow,  and  Rapid. 

3.  When  do  we  use  Yery  Slow  Movement? 

4.  With  what  pitch  is  it  usually  given  ? 

5.  Can  it  be  given  with  High  or  Very  High  Pitch  ? 

6.  With  what  Qualities  will  the  Very  Slow  Movement  generally  be 

given  ? 


LESSOIST    XLIV. 

Exercises  in  Articulation. 

wh,  as  in  what, 
when,  whip,  wheel, 

wheat,  whips,  whence. 

1.  Whither,  whither  shall  I  fly? 

2.  Whisper  softly  in  the  assembly. 

3.  What  white-winged  sail  is  that  ? 

4.  Why  will  kings  forget  that  they  are  men  ? 

5.  Whither  when  they  came  they  fell  at  words. 


Very  Kapid  Movement.  233 

Very  Rapid  movement. 

Very  Rapid  Movement  may  be  defined  as  the  rate 
that  utters  words  with  the  utmost  rapidity  consistent 
with  distinctness  of  articulation. 

Repeat  the  following  sentences  with  Very  Rapid 
Movement,  but  perfectly  distinct  Articulation.  If  you 
cannot  articulate  the  words  distinctly,  reduce  the  rate 
until  distinctness  is  acquired,  and  then  gradually 
increase  the  movement. 

Exercises  in  Very  Rapid  Movement. 

High  Pitch,  Radical  Stress,  Energetic  Force,  Pure  Tone,  Expulsive  and 
Explosive  Forms. 

Here  it  comes  sparkling, 
And  there  it  lies  darkling ; 
Now  smoking  and  frothing ; 
Its  tumult  and  wrath  in, 
Till  in  this  rapid  race 

On  which  it  is  bent, 
It  reaches  the  place 

Of  its  steep  descent. 

Very  Rapid  Movement — When  Used. 
Very  Rapid  Movement  is  appropriate  for  the  deliv- 
ery  of   ecstatic  joy,  lyric  description  of  brilliant  and 
exciting  scenes. 

exercises 
Illustrating  all  the  rates  of  Movement. 
O  the  long  and  dreary  winter  ! 
Repeat  the  above  sentence  with 

1.  Expulsive  Form,  Pure  Tone,  Moderate  Force, 
Radical  Stress,  Middle  Pitch,  and  Moderate  Move- 
ment. 

2.  Effusive  Form,  Orotund  Quality,  Moderate  Force, 
Median  Stress,  Low  Pitch,  and  Slow  Movement, 


234  Science  of  Elocution. 

3.  Expulsive  Form,  Pure  Tone,  Energetic  Force, 
Radical  Stress,  High  Pitch,  Rapid  Movement. 

4.  Effusive  Form,  Pectoral  Quality,  Energetic  Force, 
Thorough  Stress,  Very  Low  Pitch,  and  Very  Slow 
Movement. 

5.  Explosive  Form,  Pure  Tone,  Impassioned  Force, 
Radical  Stress,  Very  High  Pitch,  and  Very  Rapid 
Movement. 

EXAMPLES:      LYBIC       DESCBIPTION     OP     EXCITING 
SCENES. 

Very    Rapid  Movement,   High  Pitch,  Radical  Stress,   Energetic   and 
Impassioned  Force,  Pure  Tone,  Expulsive  and  Explosive  Forms. 

From  Mazeppa. 

BYRON. 

Away,  away,  and  on  we  dash! 
Torrents  less  rapid  and  less  rash. 
Away,  away,  rny  steed  and  I, 

Upon  the  pinions  of  the  wind, 

All  human  dwellings  left  behind : 
We  sped  like  meteors  through  the  sky, 
When  with  its  crackling  sound  the  night 
Is  checkered  with  the  northern  light : 
From  out  the  forest  prance 
A  trampling  troop — I  see  them  come ; 
A  thousand  horse,  and  none  to  ride ; 
With  flowing  tail  and  flying  mane, 
Wide  nostrils,  never  stretched  by  pain, 
Mouths  bloodless  to  the  bit  or  rein, 
And  feet  that  iron  never  shod, 
And  flanks  unscarred  by  spur  or  rod : 
A  thousand  horse  —the  wild,  the  free, 
Like  waves  that  follow  o'er  the  sea, 

Came  thickly  thundering  on. 
They  stop,  they  start,  they  snuff  the  air, 
Gallop  a  moment  here  and  there, 
Approach,  retire,  wheel  round  and  round, 
Then  plunging  back  with  sudden  bound, 


Yery  Rapid  Movement.  235 

They  snort,  they  foam,  neigh,  swerve  aside, 
And  backward  to  the  forest  fly, 
By  instinct,  from  a  human  eye. 


EXAMPLE:    KAPID  DESCKIPTIOJST. 

Very  Rapid  Movement,  Middle  Pitch,  Radical  Stress,  Energetic  Force, 
Pure  Tone,  Expulsive  Form. 

The  Two  Boot-Blacks. 

1.  A  day  or  two  ago,  during  a  lull  in  business,  two  little  boot- 
blacks, one  white  and  one  black,  were  standing  on  the  street 
corner  doing  nothing,  when  the  white  boot- black  agreed  to 
black  the  black  boot-black's  boots.  The  black  boot-black 
was,  of  course,  willing  to  have  his  boots  blacked  by  his  fellow 
boot  blacK,  and  the  boot- black  who  had  agreed  to  black  the 
black  boot- black's  boots  went  to  work. 

2.  When  the  boot-black  had  blacked  one  of  the  black  boot- 
black's boots  till  it  shone  in  a  manner  that  would  make  any 
boot-black  proud,  this  boot-black  who  had  agreed  to  black 
the  black  boot-black's  boots  refused  to  black  the  other  boot 
of  the  black  boot-black  until  the  black  boot-black,  who  had 
consented  to  have  the  white  boot-black  black  his  boots, 
should  add  five  cents  to  the  amount  the  white  boot-black 
had  made  blacking  other  men's  boots.  This  the  boot-black 
whose  boot  had  been  blacked  refused  to  do,  saying  it  was 
good  enough  for  a  black  boot-black  to  have  one  boot  blacked, 
and  he  didn't  care  whether  the  boot  that  the  boot-black 
hadn't  blacked  was  blacked  or  not. 

3.  This  made  the  boot-black  who  had  blacked  the  black  boot- 
black's boot  as  angry  as  a  boot-black  often  gets,  and  he 
vented  his  black  wrath  by  spitting  upon  the  blacked  boot 
of  the  black  boot-black.  This  roused  the  latent  passions  of 
the  black  boot-black,  and  he  proceded  to  boot  the  white 
boot-black  with  the  boot  which  the  white  boot-black  had 
blacked.  A  fight  ensued,  in  which  the  white  boot-black  who 
had  refused  to  black  the  unblacked  boot  of  the  black  boot- 
black, blacked  the  black  boot-black's  visionary  organ,  and 
in  which  the  black  boot-black  wore  all  the  blacking  off  his 
blacked  boot  in  booting  the  white  boot-black. 


236  Science  of  Elocution- 


Questions. 

1.  Define  Very  Rapid  movement. 

2.  When  is  it  used  ? 

3.  Where  in  nature  do  we  find  this  movement  illustrated? 

4.  What  are  the  general  divisions  of  Movement  ? 

5.  Which  is  most  frequently  required  ? 

6.  In  what  combination  will  it  be  found  ? 


Conclusions. 

If  the  previous  lessons  have  been  thoroughly  mas- 
tered the  pupil  must  have  reached  the  following  con- 
clusions : 

1.  That  Pathos,  Solemnity,  and  Tranquillity 
unmingled  with  Grandeur  and  Sublimity  must  be 
expressed  with 

Effusive  Form,  Pure  Tone,  Subdued  Force,  Median 
Stress,  Low  Pitch,  and  Slow  Movement,  differing  with 
different  persons  only  in  degree  according  to  the  inten- 
sity of  the  emotion  or  feeling. 

2.  That  Narrative,  Descriptive,  Didactic,  and 
Animated  Thought  can  be  uttered  only  with 

Expulsive  Form,  Pure  Tone,  Moderate  Force,  Radical 
Stress,  Middle  Pitch,  and  Moderate  Movement,  dif- 
fering only  in  degree. 

3.  That  Solemnity,  Sublimity,  Grandeur,  Rever- 
ence, Adoration,  and  Devotion  must  be  expressed 
with 

Effusive  Form,  Orotund  Quality,  Energetic  Force, 
Thorough  and  Median  Stress,  Low  Pitch,  and  Slow 
Movement. 

4.  That  Argumentative,  Oratorical,  and  Impas- 
sioned Poetic  Thought  with 

Expulsive  Form,  Orotund  Quality,  Energetic  and 
Impassioned    Force,    Radical,    Final,   or   Intermittent 


Conclusions.  237 

Stress,  Middle  and  High  Pitch,  Moderate  and  Rapid 
Movement. 

5.  That  Shouting,  Calling,  Commanding  will 
require 

Expulsive  Form,  Orotund  Quality,  Impassioned 
Force,  Thorough  Stress,  High  and  Very  High  Pitch, 
Moderate  and  Rapid  Movement. 

6.  That  Sickness,  Feebleness,  Weakness  will 
require 

Effusive  Form,  Oral  Quality,  Subdued  Force,  Inter- 
mittent Stress,  Low  Pitch,  and  Slow  Movement. 

7.  That  Stillness,  Secrecy,  Suppressed  Fear 
with 

Effusive  Form,  Aspirate  Quality,  Subdued  Force, 
Thorough  Stress,  Low  Pitch,  Slow  Movement. 

8.  That  the  Malignant  Passions — Anger,  Revenge, 
Scorn,  Defiance,  Hate,  etc.,  etc. — must  be  given  with 

Expulsive  and  Explosive  Forms,  Pectoral  or  Guttural 
Quality;  the  other  elements  varying  according  to  the 
intensity  of  the  passion. 


Questions. 

1.  With  what  combination  must  Pathos  be  given  ? 

2.  What  Didactic  Thought  ? 

3.  What  Stillness  ? 

4.  What  Argument? 

5.  What  Impassioned  Poetic  Thought  ? 

6.  What  Calling? 

1.  What  Narrative? 

8.  What  a  selection  both  Narrative  and  Pathetic? 

9.  With  what  combination  Devotion  ? 

10.  Do   all  persons  who   express  correctly  the  above   styles  of 

thought  and  feeling  illustrate  the  combinations  here  taught  ? 

11.  Suppose  they  have  never  heard  of  them? 

12.  Will  we  be  more  likely  to  give  them  correctly  if  we  know  them 

than  if  we  do  not  ? 


238  Science  of  Elocution. 

HiESSOIST  XLV. 
GROUPING. 

While  it  is  impossible  to  express  thought  and  feel- 
ing appropriately  and  impressively  without  the  perfect 
illustration  and  correct  combination  of  the  Essential 
Elements,  yet  it  does  not  follow  that,  because  they  are 
so  given,  excellence  of  expression  will  be  the  nec- 
essary result.  An  utterance  may  combine  the  elements 
correctly,  it  may  illustrate  them  perfectly  and  yet  be 
monotonous,  wearisome,  and  even  positively  unpleasant. 
Something  more  than  correct  combination  and  illustra- 
tion is  necessary.     They  are  essential,  but  not  sufficient. 

The  elements  are  to  expression  what  the  processes, 
Addition,  Subtraction,  Multiplication,  and  Division,  are 
to  the  solution  of  problems,  or  the  notes  of  the  scale 
to  a  tune.  Problems  cannot  be  solved  without  the 
processes,  tunes  cannot  be  composed  without  the  notes. 
But  the  mere  fact  that  the  processes  are  employed 
does  not  assure  the  correctness  of  the  result ;  the  ar- 
rangement of  a  certain  number  of  notes  does  not  con- 
stitute a  pleasing  and  impressive  tune.  It  is  the  cor- 
rectness of  the  processes,  the  skillful  arrangement  of 
the  notes,  that  is  as  important  as  the  processes  and 
the  notes  themselves.  So  it  is  in  utterance;  there  must 
be  a  skillful  blending  of  the  elements,  a  pleasing  va- 
riety, a  happy  adjustment  of  light  and  shade.  This,  for 
want  of  a  better  name,  has  been  termed 

Grouping. 

Grouping  may  be  defined  as  the  modulation  of  the 
voice  in  the  same  combination  or  in  diffei*ent  combiner 


Grouping.  239 

tiona  which  renders  the  utterance  both  pleasing  and  im- 
pressive. It  consists  of  slight  changes  generally 
(though  occasionally  of  marked  ones),  not  of  Pitch 
chiefly,  as  is  the  case  in  music,  but  of  Force,  Quality, 
Stress,  Movement,  and  sometimes  Form.  It  is  to  Elo- 
cution what  the  composition  of  the  tune  is  to  music, 
the  originating,  the  creating,  the  divine  part.  It  is 
the  all- important  part  of  expression,  the  highest,  the 
most  difficult  attainment.  To  know  the  Essential  Ele- 
ments, in  their  illustration  and  application,  is  child's 
play  (and  every  child  should  know  them  thoroughly) 
as  compared  with  the  mastery  of  Grouping.  After 
all  that  has  been  presented  in  the  previous  passes 
has  been  thoroughly  mastered,  then  the  real  study  of 
Elocution  begins.  It  were  easy  to  sing  after  one  has 
learned  to  illustrate  the  notes  of  the  scale  and  some 
one  else  has  composed  the  tune  ;  but  to  compose  the 
tune,  and  compose  it,  too,  while  you  sing,  "  Ay,  there's 
the  rub  ! "  And  yet  this  is  just  what  excellence  in 
reading,  in  speaking,  in  recitation,  in  acting,  in  conver- 
sation implies.  He  who  excels  in  vocal  expression 
illustrates  in  every  utterance  the  combined  power  of 
the  musical  composer  and  the  singer.  When  Edwin 
Booth  reads  Hamlet,  recites  it,  acts  it  (what  you  will, 
they  are  all  the  same),  he  illustrates  in  every  persona- 
tion the  genius  of  Verdi*  when  he  composed,  and  the 
artistic  skill  of  Patti  when  she  sings.  He  groups 
while  he  recites — to  borrow  the  language  of  music,  he 
composes  as  he  sings. 

Elocution  would  be  a  comparatively  easy  study  if,  in 
addition  to  the  explanation,  illustration,  and  application 
of  the  elements,  there  could  be  arranged  and  set  down, 
as  a  tune  in  music  for  each  and  every  selection,  a  pleas- 
ing and  impressive  Grouping.    But  this  cannot  be  done. 


240  Science  of  Elocution. 

Grouping  is  so  multiform  that  no  particular  grouping 
can  be  said  to  be  the  best,  nor  could  it  be  reproduced 
if  it  were.  No  one  groups  the  same  selection  twice  in 
the  same  way.  The  same  general  outline  may  be  re- 
tained, but  the  shading  will  always  be  different. 
Grouping  is,  as  it  were,  a  kaleidoscope  in  which  Form, 
Quality,  Force,  Stress,  Pitch,  and  Movement  are  the 
bits  of  glass  which  never  twice  present  the  same  com- 
bination, and  the  effects  of  which  are  never  twice  pre- 
cisely alike.  However  excellently  we  may  recite  a 
selection,  that  rendition  is  lost  as  soon  as  uttered.  It 
cannot  be  recalled.  We  may  improve  it,  but  our  best 
groupings,  like  "  the  thoughts  that  most  thrill  our  ex- 
istence ere  we  can  frame  them  into  language,  are  gone." 
Booth's  last  night's  Hamlet  was  not  like  the  one  of  the 
night  before,  and  no  two  were  the  same. 

Again,  no  two  persons  group  alike.  They  may  read 
the  same  selection  equally  well,  but  their  groupings 
will  differ  and  cannot  be  exchanged.  Grouping  is  sus- 
ceptible of  cultivation,  but  not  of  imitation.  For  a 
pupil  to  copy  his  teacher's  grouping,  or  a  fawner  his 
favorite's,  is  simply  to  give  a  feeble  echo,  a  parrot-like 
performance,  a  copy,  a  chromo  of  an  artist's  production. 
In  the  study  of  grouping,  more  than  anywhere  else  in 
Elocution,  the  pupil  must  rely  on  his  own  native  talent, 
his  aesthetic  taste,  his  originality.  In  grouping,  Elocu- 
tion rises  to  a  divine-  art  and  soars  above  human  imita- 
tion, and  one  flash  of  originality  kindles  expression  into 
a  flame  that  thrills  like  an  electric  shock. 

All  instruction  on  this  subject  must  be  more  or  less 
vague,  it  can  only  be  suggestive  ;  illustrative,  not  abso- 
lute.   There  are  no  rules  to  guide,  no  principles  to  decide. 

Some  illustrations  will  be  given,  but  even  they  can- 
not be  followed  with  unerring  certainty. 


Grouping.  241 

Exercises  in  Grouping. 

The  following  stanza  requires 

Effusive  Form,  Orotund  Quality,  Moderate  Force,  Median  Stress,  Low 
Pitch,  and  Slow  Movement. 

Break,  break,  break, 

On  thy  cold  gray  stones,  O  sea ! 
And  I  would  that  my  tongue  could  utter 

The  thoughts  that  arise  in  me. 

Now,  if  the  same  degree  of  each  of  the  elements  in 
the  above  combination  be  given,  the  delivery  will  be 
correct,  but  unpleasantly  monotonous.  To  group  it,  give 
the  first  word  "  break  "  with  Effusive  Form,  Orotund, 
the  second  degree  of  Moderate  Force,  a  moderately 
prolonged  Median  Stress,  about  the  second  note  of 
Low  Pitch,  and  Slow  Movement.  Give  the  second 
word  "  break "  with  Effusive  Form,  Orotund  Quality, 
the  third  or  even  a  fourth  degree  of  Moderate  Force, 
Median  Stress,  but  more  prolonged  than  on  the  first 
word;  Low  Pitch,  but  not  so  low  as  on  the  first 
word,  and  Slow  Movement,  but  a  little  faster  than  the 
first.  Give  the  third  word  "  break  "  with  Effusive  Form, 
Orotund  Quality,  Moderate  Force,  but  the  first  and 
mildest  degree  of  Moderate  Force,  Median  Stress;  but 
less  prolonged  than  the  first ;  Low  Pitch,  the  lowest  of 
the  low  division,  and  the  slowest  of  the  Slow  Move- 
ment. The  second  line  should  be  given  with  the  regu- 
lar combination,  gradually  increasing  to  the  words 
"  0  seal"  On  the  "  0  "  the  Median  Stress  should  be 
unusually  prolonged,  the  Movement  Very  Slow.  The 
word  "  sea  "  should  be  given  in  the  same  way,  only  in 
a  less  degree.  "  And  I  would  that  my  tongue  could 
utter  the  thoughts  that  arise  in  me,"  should  be  given 

with  lower  Pitch  than  the  last,  with  more  Force,  and 
16 


242  Science  of  Elocution. 

less  Effusive  Form.  It  should  gradually  increase  in 
force  to  the  word  "  thoughts"  and  then  the  pitch  should 
be  lowered  and  the  movement  slower. 

It  must  not  be  understood  that  the  above  is  a  group- 
ing tnat  must  be  given  to  the  stanza,  but  that  may  be 
given  to  it.  It  may  be  given  in  a  dozen  different 
ways,  all  better.  But  it  must  be  varied  in  some  way. 
Take  another  example,  a  selection  requiring  an  entirely 
different  combination. 

Expulsive  Form,  Pure  Tone,  Moderate  Force,  Radical  Stress,  Low  Pitch, 
and  Moderate  Movement. 

It  is  a  religion  by  which  to  live,  a  religion  by  which  to  die ; 
a  religion  which  cheers  in  darkness,  relieves  in  perplexity, 
supports  in  adversity,  keeps  steadfast  in  prosperity,  and 
guides  the  inquirer  to  that  blessed  land  where  "  the  wicked 
cease  from  troubling,  and  the  weary  are  at  rest." 

The  words,  "  It  is  a  religion  by  which  to  live"  should 
be  given  with  the  above  combination  slightly  climactic; 
"  a  religion  by  which  to  die"  with  lower  pitch,  slower 
movement,  and  greater  force;  "  a  religion  which  cheers 
in  darkness"  with  higher  pitch,  more  force,  and  an 
increased  movement ;  "  relieves  inperplexity"  with  lower 
pitch,  about  the  same  force  as  the  last,  and  slower 
movement.  On  the  words,  "supports  in  adversity" 
slightly  raise  the  pitch,  and  increase  the  force  ;  lower 
the  pitch  and  reduce  the  force  on  "  keeps  steadfast  in 
prosperity;  "  on  "  and  guides  the  inquirer  to  that  blessed 
land"  gradually  raise  the  pitch  and  increase  the  force 
and  movement ;  and  on  "  where  the  wicked  cease  from 
troubling,  and  the  weary  are  at  rest"  lower  the  pitch 
several  notes,  reduce  the  force,  and  slow  the  move- 
ment. In  a  hundred  different  ways  this  may  be 
grouped. 

One  more  example  will  suffice. 


Gkouping.  243 

The  following  requires 

Effusive  and  Expulsive  Forms,  Pure  Tone,  Subdued  and  Moderate  Force, 
Median  and  Thorough  Stress,  Low  Pitch,  aud  Slow  Movement. 

The  departed!  the  departed! 

They  visit  us  in  dreams, 
And  they  glide  above  our  memories 

Like  shadows  over  streams. 

Give  the  first  "  The  departed  "  with  Expulsive  Form, 
first  degree  of  Moderate  Force,  Thorough  Stress,  Low 
Pitch,  and  Slow  Movement ;  the  second  "  the  de- 
parted" with  Effusive  Form,  Pure  Tone,  Subdued 
Force,  Median  Stress,  Low  Pitch,  and  Very  Slow 
Movement  ;  "  They  visit  us  in  dreams"  with  more 
force  than  the  last,  higher  pitch,  and  less  Slow  Move- 
ment, Expulsive  Form,  Pure  Tone  ;  "  And  they  glide 
above  our  memories"  with  Effusive  Form,  Pure  Tone, 
Moderate  Force,  Low  Pitch,  and  Moderate  Movement  ; 
"  Like  shadows  over  streams"  with  less  force,  blower 
movement,  and  lower  pitch. 

It  must  not  be  inferred  that  every  line  must  be  as 
slowly  and  systematically  analyzed  and  grouped  as  the 
examples  given.  After  a  little  practice  the  pupil  will 
group  almost  without  a  thought  of  the  elements. 
But  the  daily  careful  study  of  a  few  sentences  will 
richly  compensate,  and  only  in  this  way  can  the  high- 
est attainments  be  made.  To  trust  to  the  inspiration 
of  the  moment  for  results  is  to  make  a  score  of  failures 
for  every  success.  The  highest  and  best  inspiration  in 
Elocution,  as  in  every  thing  else,  is  the  result  of  the 
closest  study  and  practice,  not  the  gift  of  the  gods. 

Practice  the  following  selection  with  special  refer- 
ence to  Grouping.  It  will  require  the  following  com 
bination  except  in  the  personations. 


244  Science  of  Elocution. 


example. 

Expulsive  Form,  Pure  Tone,  Moderate  Force,  Radical  and  Tlwrough 
Stress,  Middle  Pitch,  Moderate  Movement 

Maud  Muller. 

J.    G.   WHITTIEK. 

1.  Maud  Muller,  on  a  summer's  day, 
Raked  the  meadow  sweet  with  hay. 
Beneath  her  torn  hat  glowed  the  wealth 
Of  simple  beauty  and  rustic  health. 

2.  Singing,  she  wrought,  and  her  merry  glee 
The  mock-bird  echoed  from  his  tree. 
But,  when  she  glanced  to  the  far-off  town, 
White  from  its  hill-slope  looking  down, 

3.  The  sweet  song  died,  and  a  vague  unrest 
And  a  nameless  longing  filled  her  breast — 
A  wish,  that  she  hardly  dared  to  own, 
For  something  better  than  she  had  known. 

4.  The  Judge  rode  slowly  down  the  lane, 
Smoothing  his  horse's  chestnut  mane. 
He  drew  his  bridle  in  the  shade 

Of  the  apple-trees,  to  greet  the  maid, 

5.  And  ask  a  draught  from  the  spring  that  flowed 
Through  the  meadow  across  the  road. 

She  stooped  where  the  cool  spring  bubbled  up, 
And  filled  for  him  her  small  tin  cup, 

6.  And  blushed  as  she  gave  it,  looking  down 
On  her  feet  so  bare,  and  her  tattered  gown. 

" Thanks!"  said  the  Judge,  " a  sweeter  draught 
From  a  fairer  hand  was  never  quaffed." 

7.  He  spoke  of  the  grass  and  flowers  and  trees, 
Of  the  singing  birds  and  the  humming  bees ; 
Then  talked  of  the  haying,  and  wondered  whether 
The  cloud  in  the  west  would  bring  foul  weather. 


Grouping.  245 

8.  And  Maud  forgot  her  briar-torn  gown, 
And  her  graceful  ankles  bare  and  brown ; 
And  listened,  while  a  pleased  surprise 
Looked  from  her  long-lashed  hazel  eyes. 

9.  At  last,  like  one  who  for  delay 
Seeks  a  vain  excuse,  he  rode  away. 

Maud  Muller  looked  and  sighed;  "Ah,  me! 
That  I  the  Judge's  bride  might  be ! 

10.  "  He  would  dress  me  up  in  silks  so  fine, 
And  praise  and  toast  me  at  his  wine. 

My  father  should  wear  a  broadcloth  coat ; 
My  brother  should  sail  a  painted  boat. 

11.  "I'd  dress  my  mother  so  grand  and  gay; 
And  the  baby  should  have  a  new  toy  each  day. 
And  I'd  feed  the  hungry  and  clothe  the  poor, 
And  all  should  bless  me  who  left  our  door." 

12.  The  Judge  looked  back  as  he  climbed  the  hill, 
And  saw  Maud  Muller  standing  still. 

"  A  form  more  fair,  a  face  more  sweet, 
Ne'er  hath  it  been  my  lot  to  meet. 

13.  "And  her  modest  answer  and  graceful  air 
Showed  her  wise  and  good  as  she  is  fair. 
Would  she  were  mine,  and  I  to-day, 
Like  her,  a  harvester  of  hay : 

14.  ' '  No  doubtful  balance  of  rights  and  wrongs, 
Nor  weary  lawyers  with  endless  tongues, 
But  low  of  cattle  and  song  of  birds, 

And  health  and  quiet  and  loving  words." 

15.  But  he  thought  of  his  sisters  proud  and  cold, 
And  his  mother  vain  of  her  rank  and  gold. 
So,  closing  his  heart,  the  Judge  rode  on, 
And  Maud  was  left  in  the  field  alone. 

16.  But  the  lawyers  smiled  that  afternoon, 
When  he  hummed  in  court  an  old  love-tune, 
And  the  young  girl  mused  beside  the  well, 
Till  the  rain  on  the  unraked  clover  fell. 


246  Science  of  Elocution. 

17.  He  wedded  a  wife  of  richest  dower. 
Who  lived  for  fashion,  as  he  for  power. 
Yet  oft,  in  his  marble  hearth's  bright  glow. 
He  watched  a  picture  come  and  go ; 

18.  And  sweet  Maud  Muller's  hazel  eyes 
Looked  out  in  their  innocent  surprise. 
Oft,  when  the  wine  in  his  glass  was  red, 
He  longed  for  the  way-side  well  instead; 

19.  And  closed  his  eyes  on  his  garnished  rooms, 
To  dream  of  meadows  and  clover-blooms. 
And  the  proud  man  sighed,  with  a  secret  pain, 

"Ah,  that  I  were  free  again! 

20.  ' '  Free  as  when  I  rode  that  day, 

Where  the  barefoot  maiden  raked  her  hay." 
She  wedded  a  man  unlearned  and  poor, 
And  many  children  played  round  her  door. 

21.  And  oft,  when  the  summer  sun  shone  hot 
On  the  new-mown  hay  in  the  meadow  lot, 
And  she  heard  the  little  spring  brook  fall 
Over  the  roadside,  through  the  wrall, 

22.  In  the  shade  of  the  apple-tree  again 
She  saw  a  rider  draw  his  rein, 
And,  gazing  down  with  timid  grace, 
She  felt  his  pleased  eyes  read  her  face. 

23.  Sometimes  her  narrow  kitchen  walls 
Stretched  away  into  stately  halls; 
The  weary  wheel  to  a  spinnet  turned, 
The  tallow  candle  an  astral  burned, 

24.  And  for  him  who  sat  by  the  chimney  lug, 
Dozing  and  grumbling  o'er  pipe  and  mug: 
A  manly  form  at  her  side  she  saw, 

And  joy  was  duty  and  love  was  law. 

25.  Then  she  took  up  her  burden  of  life  again, 
Saying  only,  "  It  might  have  been." 
Alas  for  maiden,  alas  for  Judge, 

For  rich  repiner  and  household  drudge ! 


Geouping.  247 

26.  God  pity  them  both!  and  pity  us  all, 
Who  vainly  the  dreams  of  youth  recall. 
For  of  all  sad  words  of  tongue  or  pen. 

The  saddest  are  these :  "It  might  have  beeHl " 

27.  Ah,  well !  for  us  all  some  sweet  hope  lies 
Deeply  buried  from  human  eyes ; 

And  in  the  hereafter  angels  may 
Roll  the  stone  from  its  grave  away ! 


Questions. 

1.  Will  the  perfect  illustration  and  correct  combination  of  the 

Essential  Elements  alone  give  excellence  to  Expression  ? 

2.  Why  not? 

3.  Can  there  be  the  highest  excellence  without  the  proper  use 

of  the  Elements  ? 

4.  To  what  in  arithmetic  do  the  Elements  correspond  ? 

5.  To  what  in  music  ? 

6.  Define  Grouping. 

7.  Is  it  a  change  of  one  or  two  Elements  chiefly? 

8.  Which  Elements  are  most  frequently  changed  ? 

9.  What  does  Grouping  correspond  to  in  music  ? 

10.  What  Element  is  chiefly  varied  in  composing  a  tune? 

11.  What  is  said  of  the  importance  of  Grouping  ? 

12.  What  is  said  of  singing? 

13.  What  must  be  done  to  attain  excellence  in  Elocution  ? 

14.  What  combined  powers  does  Booth  exhibit  in  every  personation 

of  Hamlet  or  other  play  ? 

15.  If  Grouping  could  be  composed  and  set  down,  would  Elocution 

be  easier  or  more  difficult? 

16.  Why  cannot  Grouping  be  set  down  as  a  tune  is? 

IT.  What  is  said  of  the  Groupings  of  two  different  persons? 

18.  Why  cannot  the  pupil  copy  the  Grouping  of  his  teacher? 

19.  What  must  the  student  rely  upon  in  the  study  of  Grouping? 

20.  What  principles  and  rules  are  there  to  guide  him  ? 

21.  Explain  and  illustrate  the  first  example  given. 

22.  The  second. 

23.  The  third. 

24.  Are  the  examples  given  to  be  strictly  followed  in  reading  those 

passages  ? 

25.  How  can  we  best  learn  Grouping  ? 


248  Science  of  Elocution. 


LESSON    XLVI. 
Accidents  of  Vocal  Expression. 

The  Accidents  of  'Vocal  Expression  are  those  elements 
which  are  not  absolutely  essential  in  every  utterance. 

They  are,  Quantity,  Inflection,  Circumflex,  Cadence, 
Emphasis,  Pauses,  Climax,  and  are  simply  special,  un- 
usual, peculiar  combinations  of  two  or  more  of  the 
Essential  Elements.  An  utterance  may  be  given,  or  at 
least  it  may  be  conceived  of,  in  which  there  will  be  no 
special  Emphasis,  Pauses,  Cadence,  Inflection,  or  Quan- 
tity, but  we  cannot  even  conceive  of  an  utterance, 
much  less  illustrate  it,  in  which  there  will  not  be 
Form,  Quality,  Forced  Stress,  Pitch,  Movement,  in  some 
combination. 

The  Accidents  are  to  utterance  what  vibrates  or 
trills  are  to  music,  important,  but  not  essential. 

QUANTITY. 

Quantity  is  the  length  of  time  occupied  in  the  utter- 
ance of  syllables  and  words.  It  is  a  special  combina- 
tion of  Form  and  Stress.  Expulsive  or  Explosive 
Form,  Radical  Stress,  will  give  Short  Quantity  ; 
Effusive  Form,  Median  or  Thorough  Stress,  will  inva- 
riably produce  Long  Quantity. 

The  power  and  beauty  of  vocal  expression  are 
dependent,  to  a  great  extent,  on  the  proper  use  of 
Quantity.  The  music  of  the  verse  is  sacrificed  unless 
the  nicest  regard  be  paid  to  prolongation  ;  without  the 
observance  of  Long  Quantity  the  grand  and  majestic 
passages  of  poetry  and  prose  become  flat  and  dry. 


Long  Quantity.  249 

Long  Quantity. 

Long  Quantity  is  a  prolongation  of  syllables  and 
words  greater  than  that  in  ordinary  conversation. 
This  prolongation  will  vary  with  the  sentiment  and 
emotion  and  the  skill  and  power  of  the  speaker. 

To  illustrate  Long  Quantity  practice  the  following 
sounds,  words,  and  sentences,  prolonging  each  as  much 
as  possible,  but  being  careful  not  to  drawl  the  utterance. 

EXERCISES. 

1.  e,  as  in  me. 

2.  a,      "  ale. 

3.  a,      "  father. 

4.  6,      "  no. 

5.  oo,     "  ooze, 
moon,  calm,  balm, 
tolls,  rolls,             noble. 

1.  O  the  long  and  dreary  winter ! 

2.  Hear  the  tolling  of  the  bells  ! 

3.  O  change  !  O  wondrous  change  ! 

Long  Quantity — When  Used. 
Long  Quantity  should  be  given  in  the  expression  of 
pathos,  solemnity,  sublimity,  grandeur,  reverence,  adora- 
tion, shouting,  calling,  commanding,  and  other  similar 
emotions  and  passions. 

EXAMPLE  :    GKANDEUB  AND  SUBLIMITY. 

Long    Quantity,   Effusive  Form,    Orotund    Quality,    Energetic  Force, 
Median  Stress,  Low  Pitch,  Slow  Movement. 

Apostrophe  to  the  Ocean. 

LORD  BYRON. 

1.  Roll  on,  thou  deep  and  dark  blue  Ocean,  roll! 
Ten  thousand  fleets  sweep  over  thee  in  vain ; 
Man  marks  the  earth  with  ruin — his  control 
Stops  with  the  shore :  upon  the  watery  plain, 


250  Science  of  Elocution. 

The  wrecks  are  all  thy  deed,  nor  doth  remain 
A  shadow  of  man's  ravage,  save  his  own 
When  for  a  moment,  like  a  drop  of  rain, 
He  sinks  into  thy  depths  with  bubbling  groan, 
Without  a  grave,  unknelled,  uncoffined,  and  unknown. 

2.  Thou  glorious  mirror,  where  the  Almighty's  form 
Glasses  itself  in  tempests ;  in  all  time, 
Calm  or  convulsed — in  breeze,  or  gale,  or  storm, 

Icing  the  pole,  or  in  the  torrid  clime 
Dark  heaving ;  boundless,  endless,  and  sublime — 
The  image  of  Eternity — the  throne 
Of  the  Invisible ;  even  from  out  thy  slime 
The  monsters  of  the  deep  are  made ;  each  zone 
Obeys  thee :  thou  go'st  forth,  dread,  fathomless,  alone. 


Questions. 

1 .  What  is  an  Accident  of  Vocal  Expression  ? 

2.  What  is  the  difference  between  an  Accident  and  an  Essential 

Element  of  Vocal  Expression  ? 

3.  Define  Quantity. 

4.  Of  what  Essential  Elements  is  it  composed  ? 

5.  What  is  said  of  the  importance  of  Quantity? 

6.  Define  Long  Quantity. 

7.  Is  it  fixed  or  variable  ? 

8.  When  is  it  used  ? 

9.  Why  does  the  selection  require  Long  Quantity  ? 


LESSON    XJLVII. 
Short  Quantity. 

Short  Quantity  is  short,  quicJc  utterance  of  syllables 
and  words.  * 

It  is  much  shorter  than  the  tones  of  ordinary  conver- 
sation. It  is  a  combination  of  Expulsive  or  Explosive 
Form,  Radical  or  Final  Stress, 


Shobt  Quantity.  251 

To  cultivate  Short  Quantity,  practice  the  following, 
with  a  sudden  abrupt  utterance. 

Exercises  in  Short  Quantity, 
1.  e,  as  heard  in  let. 


2. 

I,      " 

"    ill. 

3. 

6,      " 

"     sod. 

4. 

a,    " 

"     up. 

5. 

a,    « 

"     add. 

pick, 

cup, 

1 

hack, 

sod. 

bat, 
neck, 

1.  On,  Stanley,  on ! 

2.  Quick!  man  the  life-boat! 

3.  Back  to  thy  punishment,  false  fugitive! 

Short  Quantity — When  Used. 
Short  Quantity  is  employed  in  the  expression  of  joy, 
gladness,  excited  command,  anger,  scorn,  contempt,  re- 
venge, hate,  and  other  malignant  passions. 

EXAMPLE:    NARRATIVE,  DESCRIPTIVE,  ANGER,    DE- 
FIANCE, SCORN. 

Short  Quantity,  Expulsive  and  Explosive  Forms,  Pure  Tone,  Aspirate 
and  Pectoral  Qualities,  Moderate,  Energetic,  and  Impassioned  Force, 
Radical,  Final,  and  Thorough  Stress,  High,  Middle,  and  Low  Pitch, 
Moderate  and  Rapid  Movement. 

[It  may  be  well  here  to  state  that  the  above  is  not  a  single  combination,  but 
rather  three  or  four  different  combinations,  each  of  which  will  be  required  in  thr 
■election.] 

Marmion  and  Douglas. 

SIB  "WALTER  SCOTT. 

1.  The  train  from  out  the  castle  drew, 
But  Marmion  stopped  to  bid  adieu : 

"  Though  something  I  might  'plain,"  he  said, 
"  Of  cold  respect  to  stranger  guest, 
Sent  hither  by  your  king's  behest ; 
While  in  Tantallon's  towers  I  stayed ; 


252  Science  of  Elocution. 

Part  we  in  friendship  from  your  land, 
And,  noble  earl,  receive  my  hand." 

2.  But  Douglas  round  him  drew  his  cloak, 
Folded  his  arms,  and  thus  he  spoke : 

"  My  manors,  halls,  and  towers  shall  still 

Be  open,  at  my  sovereign's  will, 

To  each  one  whom  he  lists,  howe'er 

Unmeet  to  be  the  owner's  peer. 

My  castles  are  my  king's  alone 

From  turret  to  foundation-stone; 

The  hand  of  Douglas  is  his  own, 

And  never  shall  in  friendly  grasp 

The  hand  of  such  as  Marmion  clasp." 

3.  Burned  Marmion's  swarthy  cheek  like  fire, 
And  shook  his  very  frame  for  ire, 

And,  "  This  to  me!  "  he  said; 
"  An  t'were  not  for  thy  hoary  beard, 
Such  hand  as  Marmion's  had  not  spared 

To  cleave  the  Douglas'  head ! 
And,  first,  I  tell  thee,  haughty  peer, 
He  who  does  England's  message  here, 
Although  the  meanest  in  her  State, 
May  well,  proud  Angus,  be  thy  mate : 
And,  Douglas,  more  I  tell  thee  here 

Even  in  thy  pitch  of  pride, 
Here  in  thy  hold,  thy  vassals  near 
(Nay,  never  look  upon  your  lord, 
And  lay  your  hands  upon  your  sword), 

I  tell  thee,  thou'rt  defied ! 
And,  if  thou  said'st  I  am  not  peer 
To  any  lord  in  Scotland  here, 
Lowland  or  Highland,  far  or  near, 

Lord  Angus,  thou  hast  lied !  " 

4.  On  the  Earl's  cheek  the  flush  of  rage 
O'ercame  the  ashen  hue  of  age ; 

Fierce  he  broke  forth,  "And  darest  thou  then 
To  beard  the  lion  in  his  den, 


Short  Quantity.  253 

The  Douglas  in  his  hall  ? 
And  hopest  thou  hence  unscathed  to  go  ? 
No,  by  Saint  Bride  of  Bothwell,  no ! 
Up  draw-bridge,  grooms — what,  Warder,  ho ! 

Let  the  portcullis  fall." 

5.  Lord  Marmion  turned — well  was  his  need ! — 
And  dashed  the  rowels  in  his  steed, 

Like  arrow  through  the  archway  sprung; 
The  ponderous  gate  behind  him  rung : 
To  pass  there  was  such  scanty  room, 
The  bars,  descending,  razed  his  plume. 

6.  The  steed  along  the  draw-bridge  flies, 
Just  as  it  trembled  on  the  rise; 

Not  lighter  does  the  swallow  skim 
Along  the  smooth  lake's  level  brim ; 
And,  when  Lord  Marmion  reached  his  band, 
He  halts,  and  turns  with  clenched  hand, 
And  shout  of  loud  defiance  pours, 
And  shook  his  gauntlet  at  the  towers. 


Questions. 

1.  Define  Short  Quantity. 

2.  "What  Essential  Elements  make  up  Short  Quantity  ? 

3.  When  is  it  used  ? 

4.  Why  does  the  selection  require  Short  Quantity  ? 

5.  What  combination  do  the  first  two  lines  require  ? 

6.  What  the  remainder' of  that  stanza? 

7.  What  combination  will  be  required  in  the  third  stanza  ?    Why  ? 

8.  What  in  the  fourth  stanza  ?    Why  ? 


254  Science  of  Elocution. 


LESSON   XL VIII. 

INFLECTIONS. 

Inflections  are  changes  in  Pitch  either  upward  or 
downward  through  the  concrete  movement. 

They  are  special  combinations  of  Pitch  and  Move- 
ment, and  vary  in  degree  according  to  the  sentiment. 

No  element  of  utterance  is  more  important  in  giving 
significance  to  speech  than  Inflections. 

The  Inflection  alone  often  renders  expression  ad- 
dressed to  the  understanding  intelligible. 

In  the  reading  and  recitation  of  verse  it  is  the  proper 
management  of  the  Inflections  that  prevents  monotony, 
on  the  one  hand,  and  chanting  on  the  other. 

"  So  important  is  a  just  mixture  of  Inflections  that 
the  moment  they  are  neglected  our  pronunciation  be- 
comes meaningless  and  monotonous.  If  the  sense  of  a 
sentence  require  the  voice  to  adopt  the  rising  Inflection 
on  any  particular  word,  either  in  the  middle  or  at  the 
end  of  the  phrase,  variety  and  harmony  demand  the 
falling  Inflection  on  one  of  the  preceeding  words;  and, 
on  the  other  hand,  if  emphasis,  harmony,  or  a  comple- 
tion of  sense  require  the  falling  Inflection  on  any 
word,  the  word  immediately  preceding  almost  always 
demands  the  rising  Inflection,  so  that  these  Inflections 
of  voice  are  in  an  order  nearly  alternate." 

Rising  Inflection. 

A  Rising  Inflection  is  a  rapid  change  in  the  pitch  of 
the  voice  from  a  lower  to  a  higher  tone  through  the  con- 
crete movement. 


Rising  Inflection.  255 

The  Inflection  will  vary  in  degree  according  to  the 
sentiment. 

Rising  Inflection — When  Used. 

A  Rising  Inflection  of  a  second,  that  is,  running 
through  the  interval  of  the  second  on  the  musical 
scale,  will  indicate  a  suspensio7i  of  the  sense  or  incom- 
pleteness in  the  utteratice. 

The  rising  Inflection  of  the  Third  and  Fifth  are 
used,  to  ask  a  definite  question,  or  one  that  may  be 
answered  by  yes  or  no;  to  express  suspense,  astonish- 
ment, wonder,  amazement,  etc.  ;  to  express  lively,  joyous 
thought;  to  petition,  beg,  fawn,  and  flatter. 

The  Rising  Inflection  of  the  octave  expresses  intense 
surprise,  wonder,  and  astonishment.  These  are  by  no 
means  all  the  cases  in  which  the  different  Inflections 
will  be  required. 

Exercises  in  Rising  Inflections, 
incompleteness  of  thought. 

Second. 

1.  There  is  no  one  quality — 

2.  There  are  men  who  get  one  idea — 

3.  In  the  ancient  republics  of  Greece  and  Rome — 

SURPRISE  AND  ASTONISHMENT. 
Tliird  and  Fifth. 

1.  Must  I  budge? 

2.  I  an  itching  palm  ? 

3.  Must  I  observe  you  ? 

4.  What,  looked  he  f rowningly  ? 

5.  Is  this  the  part  of  wise  men  ? 

6.  Can  you  think  me  capable  of  so  vile  a  deed  ? 


256  Science  of  Elocution, 

amazement. 

Octave. 

1.  Saw  whom  ? 

2.  Seems,  madam  ? 

3.  The  king,  my  father? 

EXAMPLE  :  DESCKIPTIVE,  JOYOUS. 

Kising  Inflection  of  Third,  Fifth,  and  Octave,  Expulsive  Form,  Pwre  Tone, 
Moderate  Force,  Radical  Stress,  Middle  Pitch,  Moderate  Movement. 

An  Idyl  of  the  Period. 

G.  A.  BAKER. 
I. 

1.   "Walk  right  in  1     How  are  you,  Fred? 

Find  a  chair, — have  a  light? " 
"Well,  old  boy,  recovered  yet 

From  the  Mathers'  jam  last  night  ? " 
"  Didn't  dance — the  German's  old." 

"  Didn't  you  ?    I  had  to  lead- 
Awful  bore ! — but  where  were  you  ? " 

"  Sat  it  out  with  Molly  Meade; 
Jolly  little  girl  she  is — 

Said  she  didn't  care  to  dance, 
'D  rather  have  a  quiet  chat — 

Then  she  gave  me  such  a  glance. 
So  when  you  had  cleared  tlie  room, 

And  had  captured  all  the  chairs, 
Having  nowhere  else,  we  two 

Took  possession  of  the  stairs. 
I  was  on  the  lower  step, 

Molly  on  the  next  above ; 
Gave  me  her  bouquet  to  hold — 

Asked  me  to  draw  off  her  glove. 
Then,  of  course,  I  squeezed  her  hand, 

Talked  about  my  wasted  life ; 
Said  my  sole  salvation  must 

Be  a  true  and  gentle  wife. 
Takes  a  girl,  that  kind  of  talk. 


17 


Rising  Inflection.  257 

2.  "  Then,  you  know,  I  used  my  eyes — 

She  believed  me  every  word ; 
Almost  said  she  loved  me — Jove ! 

Such  a  voice  I  never  heard — 
Gave  me  some  symbolic  flower, 

Had  a  meaning,  O !  so  sweet. 
Don't  know  where  it  is,  I'm  sure ; 

Must  have  dropped  it  in  the  street. 
How  I  spooned !  and  she — ha !  ha ! 

Well,  I  know  it  wasn't  right, 
But  she  did  believe  me  so, 

That  I — kissed  her — pass  a  light." 


II. 

" Molly  Meade,  well  I  declare! 

Who'd  have  thought  of  seeing  you, 
After  what  occurred  last  night, 

Out  here  on  the  avenue  ? 
O !  you  awful,  awful  girl ! 

There — don't  blush — I  saw  it  all.  " 
1 '  Saw  all  what  ?  "    "  Ahem— last  night- 

At  the  Mathers',  in  the  hall." 
"  O !  you  horrid — where  were  you  ? 

Wasn't  he  an  awful  goose  ? 
Most  men  must  be  caught,  but  he 

Ran  his  neck  right  in  the  noose. 
I  was  almost  dead  to  dance, 

I'd  have  done  it  if  I  could; 
But  old  Gray  said  I  must  stop, 

And  I'd  promised  ma  I  would ; 
So  I  looked  up  sweet  and  said 

That  I'd  rather  talk  with  him. 
Hope  he  did  not  see  my  face ; 

Luckily  the  lights  were  dim. 
Then  how  he  did  squeeze  my  hand — 

And  he  looked  up  in  my  face 
With  his  lovely,  great  big  eyes — 

Really  it's  a  dreadful  case. 


Science  of  Elocution. 

4.   "  He  was  all  in  earnest,  too; 

But  I  thought  I'd  have  to  laugh 
When  he  kissed  a  flower  I  gave, 

Looking — O!  like  such  a  calf! 
I  suppose  he  has  it  now 

In  a  wine-glass  on  his  shelves — 
It's  a  mystery  to  me 

Why  men  will  deceive  themselves. 
Saw  him  kiss  me !     O !  you  wretch — 

Well  he  begged  so  hard  for  one, 
And  I  thought  there'd  no  one  know, 

So  I — let  him — just  for  fun. 
I  know  it  wasn't  really  right 

To  trifle  with  his  feelings,  dear, 
But  men  are  such  conceited  things, 

They  need  a  lesson  once  a  year." 


Questions. 

1.  Define  Inflections. 

2.  What  is  said  of  their  importance  ? 

3.  "What  is  the  topic  of  this  lesson? 

4.  Define  Rising  Inflection. 

5.  Illustrate  it. 

6.  When  do  we  use  a  Rising  Inflection  of  a  Second  ? 
"7.  When  a  Third? 

8.  When  a  Fifth? 

9.  When  an  Octave  ? 

10.  What  lines  in  the  selection  will  require  Rising  Slide'  of  Fifth  ? 

11.  What  of  an  Octave  ? 

12.  Why? 


Falling  Inflection.  259 


LESSON    XLIX. 

Falling  Inflection. 

A  Falling  Inflection  is  a  rapid  change  in  the  pitch 
of  the  voice  from  a  higher  to  a  lower  one  through  the  con- 
crete movement. 

Like  the  Rising  Inflection,  it  admits  of  various 
degrees. 

If  a  person  in  reply  to  a  question  utters  the  word  no, 
expressing  a  mild  dissent,  the  voice  will  pass  from  the 
middle  pitch  downward,  exhibiting  a  Falling  Inflection 
of  a  second  or  third  ;  when  uttered  so  as  to  express 
stronger  dissent  it  will  commence  on  a  higher  pitch, 
and  end  in  a  downward  slide  of  a  fifth ;  and  when 
uttered  in  a  very  strong  or  passionate  dissent,  the 
downward  slide  will  run  through  a  whole  octave. 

Falling  Inflection — When  Used. 

The  Falling  Inflection  is  used 

To  express  completion  of  thought. 

To  express,  in  different  degrees,  positiveness,  firm- 
ness, confidence,  authority,  declaration,  determination, 
command,  defiance,  indignation,  etc. 

To  answer  questions. 

To  ask  indefinite  questions,  or  those  beginning  with 
relative  pronouns  or  adverbs,  and  not  admitting  of  an 
answer  by  yes  or  no. 

To  give  emphasis  to  words  which  otherwise  would 
have  the  Rising  Inflection. 


260  Science  of  Elocution. 

Examples  in  Falling  Inflection. 

completion  of  thought. 

Second  and  Third. 

1.  Charity  suffereth  long,  and  is  kind. 

2.  Shakespeare  was  the  greatest  tragic  writer. 

3.  It  is  natural  for  man  to  indulge  in  the  illusions 
of  hope. 

COMPLETENESS,  POSITIVENESS,  DETERMINATION. 
Third,  Fifth,  and  Octave. 

1.  We  shall  not  fail. 

2.  The  war  must  go  on. 

3.  I  am  commissioned  of  heaven  to  perform  this 
work. 

ANSWERS  TO  QUESTIONS. 
Third,  Fifth,  and  Octave. 

1.  What  would  content  you?  Talent?  No.  Enter- 
prise ?  No.  Courage  ?  No.  Virtue  ?  No.  The 
men  whom  you  would  select  should  possess  not  one, 
but  all  of  these. 

Are  they  Hebrews  ?  So  am  I.  Are  they  Israelites  ? 
So  am  I.  Are  they  the  seed  of  Abraham?  So  am  I. 
Are  they  ministers  of  Christ  ?     I  am  more. 

Can  honor  set  a  leg  ?  No.  Or  an  arm  ?  No.  Or 
take  away  the  grief  of  a  wound  ?  No.  Honor  hath 
no  skill  in  surgery,  then  ?  No.  What  is  honor  ?  A 
word.  What  is  that  word  honor?  All.  Who  hath 
it  ?  He  that  died  on  Wednesday.  Doth  he  feel  it  ? 
No.  Doth  he  hear  it  ?  No.  Is  it  insensible,  then  ? 
Yes,  to  the  dead. 

INDEFINITE     QUESTIONS. 
Third,  Fifth,  and  Octave. 
1.  Why  reason  ye  these  things  in  your  hearts  ? 


Falling  Inflection.  261 

2.  Who  is  here  so  base  that  he  would  be  a  bond- 
man ? 

3.  Who  hath  warned  you  to  flee  from  the  wrath  to 
come  ? 

EMPHATIC  WORDS. 
Third,  Fifth,  and  Octave. 

1.  I  defy  the  honorable  gentleman. 

2.  If  we  fail  it  can  be  no  worse  with  us. 

3.  I'd  rather  be  a  dog,  and  bay  the  moon,  than  such 
a  Roman. 

EXAMPLE :  DESCBIPTION  AND  IMPEKSONATION. 

Falling  Inflection,  Third,  Fifth,  and  Octave. 

[The  following  is  the  combination  for  the  narrative  and  descriptive  and  the 
utterance  of  Lady  Clare,  though  the  tones  of  Lady  Clare  should  be  softer  and  more 
musical  than  the  narrative.] 

Expulsive  Form,  Pure  Tone,  Moderate  Force,  Radi- 
cal Stress,  Middle  Pitch,  Moderate  Movement. 

The  following  will  be  appropriate  for  old  Alice,  the 
nurse  : 

Expulsive  Form,  Falsetto  Quality,  Energetic  Force, 
Radical  Stress,  High  Pitch,  Moderate  Movement. 

For  Lord  Ronald: 

Expulsive  Form,  Orotund  Quality,  Energetic  Force, 
Radical  Stress,  High  Pitch,  Moderate  Movement. 

Lady  Clare. 

ALFRED    TENNYSON. 

1 .  It  was  the  time  when  lilies  blow, 

And  clouds  are  highest  up  in  air, 
Lord  Ronald  brought  a  lily-white  doe 
To  give  his  cousin,  Lady  Clare. 

2.  I  trow  they  did  not  part  in  scorn : 

Lovers  long-betrothed  were  they; 
They  two  will  wed  the  morrow  morn ; 
God's  blessing  on  the  day ! 


262  Science  of  Elocution. 

3.  ••  He  does  not  love  me  for  my  birth, 

Nor  for  my  lands  so  broad  and  fair ; 
He  loves  me  for  my  own  true  worth, 
And  that  is  well,"  said  Lady  Clare. 

4.  In  there  came  old  Alice  the  nurse, 

Said,  "  Who  was  this  that  went  from  thee  ?  " 
"  It  was  my  cousin,"  said  Lady  Clare, 
"  To-morrow  he  weds  with  me." 

5.  "  O  God  be  thanked!  "  said  Alice  the  nurse, 

"  That  all  comes  round  so  just  and  fair; 
Lord  Ronald  is  heir  of  all  your  lands, 
And  you  are  not  the  Lady  Clare." 

6.  "Are  ye  out  of  your  mind,  my  nurse,  my  nurse,' 

Said  Lady  Clare,  "  that  ye  speak  so  wild  ?  " 
"As  God's  above,"  said  Alice  the  nurse, 
"I  speak  the  truth:  you  are  my  child. 

7.  "The  old  earl's  daughter  died  at  my  breast; 

I  speak  the  truth,  as  I  live  by  bread ! 
I  buried  her  like  my  own  sweet  child, 
And  put  my  child  in  her  stead." 

8.  "  Falsely,  falsely  have  ye  done, 

O  mother,"  she  said,  "  if  this  be  true; — 
To  keep  the  best  man  under  the  sun 
So  many  years  from  his  due." 

9.  "  Nay,  now,  my  child,"  said  Alice  the  nurse. 

But  keep  the  secret  for  your  life, 
And  all  you  have  will  be  Lord  Ronald's, 
When  you  are  man  and  wife." 

10.  "  If  I'm  a  beggar  born,"  she  said, 

"  I  will  speak  out,  for  I  dare  not  lie, 
Pull  off,  pull  off  the  brooch  of  gold, 
And  fling  the  diamond  necklace  by." 

11.  "  Nay,  now,  my  child,"  said  Alice  the  nurse, 

"  But  keep  the  secret  all  ye  can." 
She  said,  "  Not  so;  but  I  will  know 
If  there  be  any  faith  in  man." 


Falling  Inflection.  263 

12.  "  Nay,  now,  what  faith  ? "  said  Alice  the  nurse, 

"  The  man  will  cleave  unto  his  right." 
"  And  he  shall  have  it,"  the  lady  replied, 
"  Though  I  should  die  to-night." 

13.  "  Yet  give  one  kiss  to  your  mother  dear! 

Alas,  my  child,  I  sinned  for  thee." 
"O  mother,  mother,  mother,"  she  said, 
"  So  strange  it  seems  to  me. 

14.  "  Yet  here's  a  kiss  for  my  mother  dear, 

My  mother  dear,  if  this  be  so, 
And  lay  your  hand  upon  my  head, 
And  bless  me,  mother,  ere  I  go." 

15.  She  clad  herself  in  a  russet  gown, 

She  was  no  longer  Lady  Clare, 
She  went  by  dale,  and  she  went  by  down, 
With  a  single  rose  in  her  hair. 

16.  The  lily-white  doe  Lord  Ronald  had  brought 

Leapt  up  from  where  she  lay, 
Dropt  her  head  in  the  maiden's  hand, 
And  followed  her  all  the  way. 

17.  Down  stept  Lord  Ronald  from  his  tower: 

"  O  Lady  Clare,  you  shame  your  worth! 
Why  come  you  drest  like  a  village  maid, 
That  are  the  flower  of  the  earth  ?  " 

18.  "If  I  come  drest  like  a  village  maid, 

I  am  but  as  my  fortunes  are : 

I  am  a  beggar  born, "  she  said, 

"  And  not  the  Lady  Clare." 

19.  "Play  me  no  tricks,"  said  Lord  Ronald, 

"  For  I  am  yours  in  word  and  in  deed ; 
Play  me  no  tricks,"  said  Lord  Ronald, 
"  Your  riddle  is  hard  to  read." 

20.  O,  and  proudly  stood  she  up ! 

Her  heart  within  her  did  not  fail: 

She  looked  into  Lord  Ronald's  eyes, 

And  told  him  all  her  nurse's  tale, 


264  Science  of  Elocution. 

21.  He  laughed  a  laugh  of  merry  scorn; 

He  turned  and  kissed  her  where  she  stood : 
"  If  you  are  not  the  heiress  born, 
And  I,"  said  he,  "  the  next  in  blood, — 

22.  ' '  If  you  are  not  the  heiress  born, 

And  I,"  said  he,  "  the  lawful  heir, 
We  two  will  wed  to-morrow  morn, 
And  you  shall  still  be  Lady  Clare." 


Questions. 

1.  Define  Falling  Inflection. 

2.  What  are  the  different  degrees  of  Falling  Inflection  ? 

3.  When  are  they  used  ? 

4.  Why  should  the  utterances  of  the  nurse  be  given  with  the  com- 

bination presented? 

5.  Why  the  narrative  and  Lady  Clare  with  the  same  combination  ? 

6.  Why  Lord  Ronald's  part  as  indicated  ? 


I-i  E  S  S  O  N     L. 

CIRCUMFLEX. 

The  Circumflex  is  a  rapid  movement  of  the  voice  either 
upward  and  downward  or  downward  and  upward.  It 
is  a  combination  of  the  rising  and  falling  Inflections  on 
a  waved  tone.  It  may  be  given  in  various  combina- 
tions. Dr.  Rush  has  presented  more  than  one  hun- 
dred and  fifty  different  degrees  of  the  Circumflex.  An 
explanation  and  illustration  of  the  different  varieties 
would  be  of  but  little  practical  advantage  to  the 
student. 

Circumflex — When  Used. 

The  Circumflex  is  appropriately  used  chiefly  in  the 
expression  of  irony,  sarcasm,  sneering,  railery,  drollery, 
etc. 


Circumflex.  265 

Exercises  in  Circumflex. 

1.  Yet  Brutus  says  he  was  ambitious ; 
And  Brutus  is  an  honorable  man. 

2.  Yet  this  is  Rome,  and  we  are  Romans. 

3.  Hath  a  dog  money  ?    Is  it  possible 

A  cur  can  lend  three  thousand  ducats  ? 

4.  A  second  Daniel,  a  Daniel,  Jew! 
Now,  infidel,  I  have  thee  on  the  hip. 
A  Daniel,  still  say  I ;  a  second  Daniel ! 

I  thank  thee,  Jew,  for  teaching  me  that  word. 

5.  Has  the  gentleman  done  ?   Has  he  completely  done? 

6.  The  atrocious  crime  of  being  a  young  man,  which 
the  honorable  gentleman  has,  with  such  spirit  and 
decency,  charged  upon  me,  I  shall  neither  attempt  to 
palliate  nor  deny. 

EXAMPLE  :    BOLD  ARGUMENT  AND  BITTER  DENUN- 
CIATION. 

Expulsive  Form,    Orotund   Quality,    Energetic  Force,  Radical  Stress, 

Middle  Pitch,  Moderate  Movement. 

[Only  a  few  words  in  the  first  and  third  stanza  will  require  the  Circumflex.] 

Pitt's  Reply  to  Walpole. 

1.  Sir: — The  atrocious  crime  of  being  a  young  man,  which 
the  honorable  gentleman  has,  with  such  spirit  and  decency, 
charged  upon  me,  I  shall  neither  attempt  to  palliate  nor  deny ; 
but  content  myself  with  wishing  that  I  may  be  one  of  those 
whose  follies  may  cease  with  their  youth,  and  not  of  that 
number  who  are  ignorant  in  spite  of  experience.  Whether 
youth  can  be  imputed  to  any  man  as  a  reproach,  I  will  not, 
sir,  assume  the  province  of  determining;  but  surely  age  may 
become  justly  contemptible,  if  the  opportunities  which  it 
brings  have  passed  away  without  improvement,  and  vic& 
appears  to  prevail  when  the  passions  have  subsided. 

2.  The  wretch  who,  after  having  seen  the  consequences  of  a 
thousand  errors,  continues  still  to  blunder,  and  whose  age  has 
only  added  obstinacy  to  stupidity,  is  surely  the  object  either 
of  abhorrence  or  contempt,  and  deserves  not  that  his  gray 


266  Science  op  Elocution. 

"hairs  should  secure  him  from  insult.  Much  more,  sir,  is  he  to 
be  abhorred  who,  as  he  has  advanced  in  age,  has  receded 
from  virtue,  and  become  more  wicked  with  less  temptation ; 
who  prostitutes  himself  for  money  which  he  cannot  enjoy,  and 
spends  the  remains  of  his  life  in  the  ruin  of  his  country. 

3.  But  youth,  sir,  is  not  my  only  crime;  I  have  been 
accused  of  acting  a  theatrical  part.  A  theatrical  part  may 
either  imply  some  peculiarities  of  gesture,  or  a  dissimulation  of 
my  real  sentiments,  and  an  adoption  of  the  opinions  and  lan- 
guage of  another  man. 

4.  In  the  first  sense,  sir,  the  charge  is  too  trifling  to  be  con- 
fronted, and  deserves  only  to  be  mentioned,  that  it  may  be 
despised.  I  am  at  liberty,  like  every  other  man,  to  use  my 
own  language ;  and  though  perhaps  I  may  have  some  ambi- 
tion to  please  this  gentleman,  I  shall  not  lay  myself  under  any 
restraint,  nor  very  solicitously  copy  his  diction  or  his  mien, 
however  matured  by  age  or  modeled  by  experience. 

5.  But  if  any  man  shall,  by  charging  me  with  theatrical 
behavior,  imply  that  I  utter  any  sentiments  but  my  own,  I 
shall  treat  him  as  a  calumniator  and  a  villain ;  nor  shall  any 
protection  shelter  him  from  the  treatment  he  deserves.  I 
shall,  on  such  an  occasion,  without  scruple,  trample  upon  all 
those  forms  with  which  wealth  and  dignity  intrench  them- 
selves ;  nor  shall  any  thing  but  age  restrain  my  resentment — 
age,  which  always  brings  one  privilege, .  that  of  being  insolent 
and  supercilious,  without  punishment. 

6.  But  with  regard,  sir,  to  those  whom  I  have  offended, 
I  am  of  opinion  that,  if  I  had  acted  a  borrowed  part,  I  should 
have  avoided  their  censure;  the  heat  that  offended  them  is 
the  ardor  of  conviction,  and  that  zeal  for  the  service  of  my 
country  which  neither  hope  nor  fear  shall  influence  me  to  sup- 
press. I  will  not  sit  unconcerned  while  my  liberty  is  invaded, 
nor  look  in  silence  upon  public  robbery.  I  will  exert  my 
endeavors,  at  whatever  hazard,  to  repel  the  aggressor,  and 
drag  the  thief  to  justice,  whoever  may  protect  him  in  his  vil- 
lainy, and  whoever  may  partake  of  his  plunder. 


Questions. 

1.  Define  Circumflex.     When  is  it  used? 

2,  What  lines  in  the  selection  requires  the  Circumflex  ?     Why  ? 


Cadence.  267 


LESSON   LI. 

CADENCE. 

Cadence  is  a  smooth,  gradual  closing  of  the  line  in 
poetry  or  the  sentence  in  prose  which  gives  a  pleasing 
and  impressive  effect  to  utterance.  It  is  not  like  the 
Inflection,  a  simple  change  in  Pitch  through  the  Concrete 
Movement  of  the  voice,  but  a  diminution  of  the  Force 
also,  and  a  change  of  Pitch  sometimes  through  the 
Concrete,  sometimes  through  the  Discrete  Movement. 
These  changes  occur  on  the  last  three,  four,  or  five 
syllables  of  the  line  or  sentence. 

A  graceful,  pleasing  Cadence  is  one  of  the  most 
impressive  elements  in  the  reading  or  recitation  of 
solemn,  serious,  pathetic,  sublime,  and  devotional 
thought  and  feeling. 

It  is  difficult  to  acquire  and  more  difficult  to  explain. 

Practice  the  following  sentences  with  special  refer- 
ence to  the  Cadence. 

Exercises  in  Cadence. 

1.  In  teaching  me  the  way  to  live, 
It  taught  me  how  to  die. 

2.  We'll  all  meet  again  in  the  morning. 

3.  I  love  it,  I  love  it,  and  cannot  tear 

My  soul  from  my  mother's  old  arm-chair. 

4.  When    the     evening    comes,   with    its  beautiful 

smile, 
And  our  eyes  are  closing  to  slumber  awhile, 
May  that  "  Greenwood  "  of  soul  be  in  sight ! 


268  Science  of  Elocution. 

5.  He  sinks  into  thy  depths  with  bubbling  groan, 
Without    a    grave,     unknelled,    uncoffined,    and 

unknown. 

6.  The  sorrow  for  the  dead  is  the  only  sorrow  froxn 

which  we  refuse  to  be  divorced. 


EXAMPLE  :   SOLEMN  AND  PATHETIC. 

Effusive  Form,  Pure   Tone,  Subdued  and  Moderate  Force,    Median 
Stress,  Low  Fitch,  Slow  Movement. 

Over  the  River. 

MISS  PRIEST. 

1.  Over  the  river  they  beckon  to  me ; 

Loved  ones,  who  have  passed  to  the  farther  side ; 
The  gleam  of  their  snowy  robes  I  see — 

But  their  voices  are  lost  in  the  dashing  tide. 
There  was  one  with  ringlets  of  sunny  gold, 

And  eyes  the  reflection  of  heaven's  own  blue ; 
He  passed  in  the  twilight  gray  and  cold, 

And  the  pale  mist  hid  him  from  mortal  view. 
We  saw  not  the  angels  who  met  him  there, 

The  gates  of  the  city  we  could  not  see — 
Over  the  river,  over  the  river, 

My  brother  stands  waiting  to  welcome  me. 

2.  Over  the  river  the  boatman  pale 

Carried  another,  our  household  pet ; 
Her  brown  curls  waved  in  the  gentle  gale, 

Darling  Minnie !  I  see  her  yet. 
She  crossed  on  her  bossom  her  dimpled  hands, 

And  fearlessly  entered  the  phantom  bark ; 
We  felt  it  glide  from  the  silver  sands, 

And  all  our  sunshine  grew  strangely  dark. 
We  know  she  is  safe  on  the  farther  side, 

Where  all  the  angels  and  ransomed  be — 
Over  the  river,  the  mystic  river, 

Our  household  pet  is  waiting  for  me. 


Cadence. 

3.  For  none  return  from  those  quiet  shores 

Who  pass  with  the  boatman  cold  and  pale ; 
We  hear  the  dip  of  the  golden  oars, 

We  catch  a  glimpse  of  their  snowy  sail ; 
And,  lo !  they  have  passed  from  our  yearning  heart, 

They  have  crossed  the  stream,  and  are  gone  for  aye- 
We  may  not  sunder  the  vail  apart, 

That  hides  from  our  vision  the  gates  of  day. 
We  only  know  that  their  barks  no  more 

Will  glide  with  us  o'er  life's  stormy  sea ; 
But  somewhere,  I  know,  on  that  unseen  shore, 

They  watch  and  beckon  and  wait  for  me. 

4.  And  I  sit  and  think,  when  the  sunset's  gold 

Is  flushing  river  and  hill  and  shore, 
I  shall  one  day  stand  by  the  water  cold 

And  list  to  the  sound  of  the  boatman's  oar. 
I  shall  catch  a  gleam  of  the  snowy  sail, 

I  shall  hear  the  boat  as  it  nears  the  strand, 
I  shall  pass  with  the  boatman  cold  and  pale 

To  the  better  shore  of  the  spirit-land. 
I  shall  know  the  loved  who  have  gone  before, 

And  joyfully  sweet  will  the  meeting  be — 
When  over  the  river,  the  peaceful  river, 

The  angel  of  Death  shall  carry  me. 


Questions. 

1.  Define  Cadence. 

2.  Wherein  does  Cadence  differ  from  Inflection  ? 

3.  Is  there  an  Inflection  with  every  Cadence  ? 

4.  What  Inflection  generally  ? 

5.  What   styles  of  thought  and  feeling  will  specially  require  the 

Cadence  ? 


270  Science  oe  Elocution. 


LESSON    LII. 

EMPHASIS. 

Emphasis  is  special  prominence  given  to  words  and 
phrases.  This  may  be  done  by  an  increase  or  decrease 
of  Force,  a  change  of  Stress,  Form,  Quality,  Pitch,  or 
Movement,  or  a  change  in  the  combination  of  two  or 
more  of  these  elements.  The  kind  and  degree  of 
Emphasis  can  be  determined  only  by  the  speaker  and 
the  sentiment.  Two  persons  may  emphasize  the  same 
sentiment  in  an  entirely  different  way  and  yet  both  be 
correct. 

"  Emphasis  is  to  speech  what  coloring  is  to  painting." 
It  admits  of  all  possible  degrees  and  must,  to  indicate  a 
particular  degree  of  distinction,  be  mild  or  intense, 
according  to  the  ground-work  or  general  utterance  of 
the  discourse. 

Emphasis  of  Force. 

Emphasis  of  Force  is  the  utterance  of  certain  words 
or  phrases  with  an  increase  or  decrease  of  the  prevail- 
ing force. 

This  style  of  Emphasis  is  usually  employed  in 
unimpassioned  discourse  to  direct  special  attention  to 
certain  words' and  phrases. 

Exercises  in  Emphasis  of  Force. 

1.  I  come  not  here  to  talk. 

2.  Study  to  show  thyself  a  man. 

3.  Ignorance  is  the  mother  of  error. 

4.  The  repose  of  the  soul  is  exercise,  not  rest. 


Emphasis.  271 

5.  Learning  is  wealth  to  the  poor,  and  an  ornament 
to  the  rich. 

6.  I  have  been  accused  of  ambition  in  presenting 
this  measure. 

Emphasis  of  Stress. 

Emphasis  of  Stress  is  either  the  prevailing  Stress 
%ntei\sified  or  an  entire  change  of  Stress. 

MEDIAN  STEESS. 

1.  0  change!  0  wondrous  change  ! 
Burst  are  the  prison  bars. 

2.  But  all,  thou  hast  all  seasons  for  thine  own,  O 
Death. 

EADICAL  STEESS. 

1.  Whence  and  what  art  thou,  execrable  shape  f 

2.  Be  ready,  gods,  with  all  your  thunder-bolts,  dash 
him  to  pieces. 

FINAL  STEESS. 

1.  Back  to  thy  punishment,  false  fugitive  ! 

2.  Thou  slave  !  thou  wretch  !  thou  coicard  ! 

COMPOUND  STEESS. 

1.  Ecstacy  !    my  pulse,  as   yours,  doth   temperately 
keep  time. 

2.  Banished  from  Rome  \  What's  banished  but  set 
free  from  daily  contact  with  the  things  I  loathe  ? 

THOEOUGH  STEESS. 

1.  0  Rome!  O  Rome!  thou  hast  been  a  tender  nurse 
to  me. 

2.  Arm !  arm !  ye  heavens,  against  these  perjured 
kings ! 

Emphasis  of  Quality. 

Emphasis  of  Quality  is  a  change  in  certain  words  and 
phrases,  from  the  prevailing  quality  to  that  of  some  other. 


272  Science  of  Elocution. 

This  change  is  usually  from  a  Pure  Tone  or  Oro- 
tund to  Aspirate,  Pectoral,  or  Guttural.  It  is  a  very 
impressive  form  of  Emphasis. 

ASPIRATE. 

1.  And  then  I  cried  for  vengeance. 

2.  If  I  were  an  American,  as  I  am  an  Englishman, 
while  a  foreign  troop  remained  upon  my  country's 
shores,  I  would  never  lay  down  my  arms.  Never/ 
never/  never/ 

PECTOEAL  OR  GUTTURAL. 

1.  Revenge  is  stamped  upon  my  spear, 

And  blood's  my  battle  cry. 

2.  O  that  the  slave  had  forty  thousand  lives  ! 
My  great  revenge  had  stomach  for  them  all. 

Emphasis  of  Pitch. 

Emphasis  of  Pitch  is  a  sudden  raising  or  lowering  of 
Pitch  on  certain  words  and  phrases,  either  through  the 
Discrete  or  Concrete  Movement. 

VERY  HIGH  PITCH. 

1.  Simpson  came  up  with  his  face  pale  as  ashes,  and 
Baid,  "  Captain,  the  ship  is  on  fire." 

Then  "  Fire  I  fire  /  fire  /  "  on  shipboard. 

VERY  LOW  PITCH. 

1.  And  hark,  the  deep  voices  replying, 

From  the  graves  where  your  fathers  are  lying, 
"  Swear,  O  swear  /  " 

CIRCUMFLEX. 

1.   0  upright  judge  /    Mark,  Jew  !  a  learned judge/ 

Emphasis  of  Movement. 

Emphasis  of  Movement  is  a  sudden  change  on  certain 
words  and  phrases,  from  the  prevailing  movement. 


Emphasis.  273 

vert  slow  movement. 
1.  Not  among  the  prisoners — Missing  ! 
That  was  all  the  message  said. 

EXAMPLE. 

TThe  following  selection  contains  a  great  variety  of  Emphasis  and  several  different 
combinations.  — .       —   .    ,  „  «      .« 

The  Painter  of  Seville. 

SUSAN  WILSON. 

'Twas  morning  in  Seville ;  and  brightly  beamed 
The  early  sunlight  in  one  chamber  there ; 

Showing  where'er  its  glowing  radiance  gleamed, 
Rich,  varied  beauty.    'Twas  the  study  where 

Murillo,  the  famed  painter,  came  to  share, 
With  young  aspirants,  his  long-cherished  art, 

To  prove  how  vain  must  be  the  teacher's  care, 
Who  strives  his  unbought  knowledge  to  impart, 
The  language  of  the  soul,  the  feeling  of  the  heart. 

The  pupils  came,  and  glancing  round, 
Mendez  upon  his  canvas  found, 
Not  his  own  work  of  yesterday, 
But,  glowing  in  the  morning  ray, 
A  sketch,  so  rich,  so  pure,  so  bright, 

It  almost  seemed  that  there  were  given 
To  glow  before  his  dazzled  sight, 

Tints  and  expression  warm  from  heaven. 
'Twas  but  a  sketch — the  Virgin's  head — 
Yet  was  unearthly  beauty  shed 
Upon  the  mildly  beaming  face ; 
The  lip,  the  eye,  the  flowing  hair, 
Had  separate,  yet  blended  grace — 

A  poet's  brightest  dream  was  there ! 

Murillo  entered,  and  amazed, 

On  the  mysterious  painting  gazed ; 

"  Whose  work  is  this? — speak,  tell  me! — he 

Who  to  his  aid  such  power  can  call," 
Exclaimed  the  teacher  eagerly, 
"  Will  yet  be  master  of  us  all ; 
18 


274  Science  of  Elocution. 

Would  I  had  done  it ! — Ferdinand ! 
Isturitz !  Mendez ! — say,  whose  hand 
Among  ye  all?"    With  half -breathed  sigh, 
Each  pupil  answered,  "  'Twas  not  I!  " 


"How  came  it  then?"  impatiently 
Murillo  cried;  " but  we  shall  see, 
Erelong  into  this  mystery. 
Sebastian ! " 

At  the  summons  came 

A  bright-eyed  slave, 
Who  trembled  at  the  stern  rebuke 

His  master  gave. 
For,  ordered  in  that  room  to  sleep, 
And  faithful  guard  o'er  all  to  keep, 
Murillo  bade  him  now  declare 
What  rash  intruder  had  been  there, 
And  threatened — if  he  did  not  tell 
The  truth  at  once — the  dungeon-cell. 

"Thou  answerest  not,"  Murillo  said; 
(The  boy  had  stood  in  speechless  fear.) 

"Speak  on!  "     At  last  he  raised  his  head 
And  murmured,  "No  one  has  been  here." 
"  'Tis  false ! "     Sebastian  bent  his  knee, 

And  clasped  his  hands  imploringly, 
And  said,  "I  swear  it,  none  but  me!" 


1 '  List ! "  said  his  master.  ' '  I  would  know 
Who  enters  here — there  have  been  found 
Before,  rough  sketches  strewn  around, 

By  whose  bold  hand,  'tis  yours  to  show; 
See  that  to-night  strict  watch  you  keep, 
Nor  dare  to  close  your  eyes  in  sleep. 

If  on  to-morrow  morn  you  fail 
To  answer  what  I  ask, 

The  lash  shall  force  you — do  you  hear? 
Hence!  to  your  daily  task." 


Emphasis.  2?5 

Twas  midnight  in  Seville ;  and  faintly  shone 

From  one  small  lamp,  a  dim  uncertain  ray 
Within  Murillo's  study — all  were  gone 

Who  there,  in  pleasant  tasks  or  converse  gay, 
Passed  cheerfully  the  morning  hours  away. 

'Twas  shadowy  gloom,  and  breathless  silence,  save, 
That  to  sad  thoughts  and  torturing  fear  a  prey, 

One  bright-eyed  boy  was  there — Murillo's  little  slave. 

Almost  a  child — that  boy  had  seen 

Not  thrice  five  summers  yet, 
But  genius  marked  the  lofty  brow, 

O'er  which  his  locks  of  jet 
Profusely  curled ;  his  cheek's  dark  hue 
Proclaimed  the  warm  blood  flowing  through 
Each  throbbing  vein,  a  mingled  tide, 
To  Africa  and  Spain  allied. 

"Alas!  what  fate  is  mine!"  he  said, 

"The  lash,  if  I  refuse  to  tell 
Who  sketched  those  figures — if  I  do, 

Perhaps  e'en  more — the  dungeon-cell!  " 
He  breathed  a  prayer  to  Heaven  for  aid ; 
It  came — for  soon  in  slumber  laid, 
He  slept,  until  the  dawning  day 
Shed  on  his  humble  couch  its  ray. 

"I'll  sleep  no  more!  "  he  cried;  "and  now 

Three  hours  of  freedom  I  may  gain, 
Before  my  master  comes ;  for  then 

I  shall  be  but  a  slave  again. 
Three  hours  of  blessed  freedom !  how 
Shall  I  employ  them? — ah!  e'en  now 
The  figure  on  that  canvas  traced 
Must  be — yes,  it  must  be  effaced." 

He  seized  a  brush — the  morning  light 

Gave  to  the  head  a  softened  glow ; 
Gazing  enraptured  on  the  sight, 

He  cried,  "  Shall  I  efface  it?    No ! 
That  breathing  lip !  that  burning  eye ! 
Efface  them? — I  would  rather  die! " 


276  Science  of  Elocution. 

The  terror  of  the  humble  slave 

Gave  place  to  the  o'erpowering  flow 
Of  the  high  feelings  nature  gave — 

Which  only  gifted  spirits  know. 
He  touched  the  brow — the  lip — it  seemed 

His  pencil  had  some  magic  power ; 
The  eye  with  deeper  feeling  beamed — 

Sebastian  then  forgot  the  hour ! 
Forgot  his  master,  and  the  threat 

Of  punishment  still  hanging  o'er  him ; 
For,  with  each  touch,  new  beauties  met 

And  mingled  in  the  face  before  him. 

At  length  'twas  finished ;  rapturously 
He  gazed — could  aught  more  beauteous  be  !- 
Awhile  absorbed,  entranced  he  stood, 
Then  started — horror  chilled  his  blood ! 
His  master  and  the  pupils  all 

Were  there  e'en  at  his  side ! 
The  terror  stricken  slave  was  mute — 

Mercy  would  be  denied, 
E'en  could  he  ask  it — so  he  deemed, 
And  the  poor  boy  half  lifeless  seemed. 

Speechless,  bewildered — for  a  space 
They  gazed  upon  that  perfect  face, 

Each  with  an  artist's  joy ; 
At  length  Murillo  silence  broke, 
And  with  affected  sternness  spoke — 

"  Who  is  your  master,  boy? " 
"  You,  senor,"  said  the  trembling  slave. 
"  Nay,  who,  I  mean,  instruction  gave, 
Before  that  Virgin's  head  you  drew?  " 
Again  he  answered,  "  Only  you." 
u  I  gave  you  none,"  Murillo  cried  I 
"  But  I  have  heard,"  the  boy  replied, 

"What  you  to  others  said." 
"And  more  than  heard,"  in  kinder  tone, 
The  painter  said ;  "  tis  plainly  shown 

That  you  have  profited." 


.Emphasis.  277 

"  What  (to  his  pupils)  is  his  meed? 

Reward  or  punishment? " 
"Reward,  reward!  "  they  warmly  cried. 

(Sebastian's  ear  was  bent 
To  catch  the  sounds  he  scarce  believed, 
But  with  imploring  look  received.) 
"  What  shall  it  be?  "     They  spoke  of  gold 

And  of  a  splendid  dress ; 
But  still  unmoved  Sebastian  stood, 

Silent  and  motionless. 


"  Speak ! "  said  Murillo,  kindly ;  "  choose 

Your  own  reward — what  shall  it  be? 
Name  what  you  wish,  I'll  not  refuse : 

Then  speak  at  once  and  fearlessly." 
"01  if  I  dared !  "—Sebastian  knelt, 

And  feelings  he  could  not  control, 
(But  feared  to  utter  even  then) 

With  strong  emotion,  shook  his  soul. 


11  Courage !  "  his  master  said,  and  each 
Essayed,  in  kind,  half- whispered  speech, 
To  soothe  his  overpowering  dread. 
He  scarcely  heard,  till  some  one  said, 

"Sebastian — ask — you  have  your  choice, 
Ask  for  your  freedom  !  " — At  the  word, 

The  suppliant  strove  to  raise  his  voice : 
At  first  but  stifled  sobs  were  heard, 
And  then  his  prayer — breathed  fervently — 

"  O !  master,  make  my  father  free !  " 
"Him  and  thyself,  my  noble  boy!  " 

Warmly  the  painter  cried ; 
Raising  Sebastian  from  his  feet, 

He  pressed  him  to  his  side. 
"Thy  talents  rare,  and  filial  love, 

E'en  more  have  fairly  won ; 
Still  be  thou  mine  by  other  bonds — 

My  pupil  and  my  son." 


278  Science  of  Elocution. 

Murillo  knew,  e'en  when  the  words 

Of  generous  feeling  passed  his  lips, 
Sebastian's  talents  soon  must  lead 

To  fame,  that  would  his  own  eclipse ; 
And  constant  to  his  purpose  still, 

He  joyed  to  see  his  pupil  gain, 
Beneath  his  care,  such  matchless  skill 

As  made  his  name  the  pride  of  Spain. 


Questions. 

1.  Define  Emphasis. 

2.  How  may  words  be  made  Emphatic  ? 

3.  Do  all  persons  Emphasize  in  the  same  way  ? 

4.  How  are  we  to  determine  when  and  how  to  Emphasize  ? 

5.  Define  Emphasis  of  Force.     When  used  ? 

6.  Define  Emphasis  of  Stress. 

7.  Give  an  illustration  of  the   different  kinds  of  Emphasis  by 

Stress. 

8.  Define  Emphasis  of  Quality.     Illustrate  it. 

9.  Define  Emphasis  of  Pitch.     Illustrate  it. 

10.  Define  Emphasis  of  Movement.    Illustrate  it. 


LESSON  LITE. 

PAUSES. 

Pauses  are  suspensions  of  the  voice  between  words  and 
sentences.  No  definite  rules  can  be  given  to  guide  the 
reader  or  speaker  in  the  use  of  Pauses.  Their  length 
and  frequency  can  be  determined  only  by  the  sen- 
timent. 

Unimpassioned,  didactic  thought  demands  but  mod- 
ate  Pauses  ;  gay,  lively,  and  joyous  thought,  very  short 
Pauses  ;  solemnity,  sublimity,  grandeur,  and  reverence, 
long  Pauses  ;  while  impassioned  thought  may  demand 
long  or  short  Pauses. 


Pauses.  279 

A  Pause  should  always  be  made  before  and  after  an 
emphatic  word. 

It  will  hardly  be  necessary  to  say  that  the  marks  of 
punctuation  do  not  indicate  the  rhetorical  Pauses. 
They  may  or  may  not  harmonize. 

EXAMPLE:  JOYOUS  THOUGHT. 

Very  Short  Pauses,  Expulsive  and  Explosive  Forms,  Pure  Tone,  Ener- 
getic  Force,  Radical  Stress,  High  Pitch,  Rapid  Movement 

Mercutio's  Description  of  Queen  Mab. 

SHAKESPEARE. 

O  then  I  see  Queen  Mab  hath  been  with  you ! 

She  comes 
In  shape  no  bigger  than  an  agate  stone 
On  the  forefinger  of  an  alderman, 
Drawn  by  a  team  of  little  atomies 
Athwart  men's  noses  as  they  lie  asleep : 
Her  wagon  spokes  made  of  long  spinners'  legs ; 
The  cover  of  the  wings  of  grasshoppers ; 
The  traces  of  the  smallest  spider's  web; 
The  collars  of  the  moonshine's  watery  beams ; 
Her  whip  of  cricket's  bone ;  the  lash  of  film ; 
Her  wagoner  a  small  gray-coated  gnat, 
Not  half  so  big  as  a  round  little  worm 
Pricked  from  the  lazy  finger  of  a  maid ; 
Her  chariot  is  an  empty  hazelnut, 
Made  by  the  joiner  squirrel,  or  old  grub, 
Time  out  of  mind  the  fairies'  coach-makers. 
And  in  this  state  she  gallops  night  by  night 
Through  lover's  brains,  and  then  they  dream  of  love; 
On  courtiers'  knees,  that  dream  on  court'sies  straight. 
O'er  lawyers'  fingers,  who  straight  dream  on  fees ; 
O'er  ladies'  lips,  who  straight  on  kisses  dream. 
Sometimes  she  gallops  o'er  a  courtier's  nose, 
And  then  dreams  he  of  smelling  out  a  suit; 
And  sometimes  comes  she  with  a  tithe-pig's  tail, 
Tickling  a  parson's  nose  as  he  lies  asleep, 
Then  dreams  he  of  another  benefice ; 


280  Science  of  Elocution. 

Sometimes  she  driveth  o'er  a  soldier's  neck, 
And  then  dreams  he  of  cutting  foreign  throats, 
Of  breaches,  ambuscadoes,  Spanish  blades, 
And  healths  five  fathoms  deep ;  and  then  anon 
Drums  in  his  ear,  at  which  he  starts  and  wakes ; 
And,  being  thus  frighted,  swears  a  prayer  or  two, 
And  sleeps  again. 

EXAMPLE:   SOLEMNITY   AND    SUBLIMITY. 

Very  Long  Pauses,  Expulsive  Form,  Orotund  Quality,  Moderate 
Force,  Thorough  Stress,  Low  Fitch,  Slow  Movement. 

Hamlet's  Soliloquy. 

SHAKESPEARE. 

To  be,  or  not  to  be :  that  is  the  question : 

Whether  'tis  nobler  in  the  mind  to  suffer 

The  slings  and  arrows  of  outrageous  fortune, 

Or  to  take  arms  against  a  sea  of  troubles, 

And,  by  opposing,  end  them?    To  die;  to  sleep; 

No  more :  and,  by  a  sleep,  to  say  we  end 

The  heart-ache,  and  the  thousand  natural  shocks 

That  flesh  is  heir  to — 'tis  a  consummation 

Devoutly  to  be  wished.     To  die ;  to  sleep ; 

To  sleep !  perchance  to  dream ;  ay,  there's  the  rub ; 

For  in  that  sleep  of  death  what  dreams  may  come, 

When  we  have  shuffled  off  this  mortal  coil, 

Must  give  us  pause.     There's  the  respect, 

That  makes  calamity  of  so  long  life : 

For  who  would  bear  the  whips  and  scorns  of  time, 

The  oppressor's  wrong,  the  proud  man's  contumely, 

The  pangs  of  despised  love,  the  law's  delay, 

The  insolence  of  office,  and  the  spurns 

That  patient  merit  of  the  unworthy  takes, 

When  he  himself  might  his  quietus  make 

With  a  bare  bodkin?    Who'd  these  fardels  bear, 

To  grunt  and  sweat  under  a  weary  life, 

But  that  the  dread  of  something  after  death — 

The  undiscovered  country,  from  whose  bourn 

No  traveler  returns — puzzles  the  will, 

And  makes  us  rather  bear  those  ills  we  have, 


Pauses.  281 

Than  fly  to  others  that  we  know  not  of? 
Thus  conscience  does  make  cowards  of  us  all ; 
And  thus  the  native  hue  of  resolution 
Is  sicklied  o'er  with  the  pale  cast  of  thought ; 
And  enterprises  of  great  pith  and  moment, 
With  this  regard,  their  currents  turn  awry, 
And  lose  the  name  of  action. 


Questions. 

1.  What  are  Pauses  ? 

2.  What  rules  can  be  given  for  our  guidance  in  their  use  ? 

3.  What  kinds  of  Pauses  will  be  required  in  the  expression  of  the 

different  styles  of  thought  ? 

4.  What  advantage  are  the  grammatical  Pauses  in  Vocal  Expres- 

sion? 


LESSON    LIV. 

CLIMAX. 
Climax  is  an  utterance  gradually  increasing  in  Force, 
rising  in  Pitch,  and  increasing  the  rate  of  Movement, 
Sometimes  a  Climax  will  be  reached  by  lowering  the 
Pitch  or  changing  the  Quality,  increasing  the  Force, 
and  reducing  the  rate  of  Movement. 

Exercises. 

1.  I  tell  you,  though  you,  though  the  whole  world, 
though  an  angel  from  heaven,  were  to  declare  the 
truth  of  it,  I  would  not  believe  it. 

2.  What  a  piece  of  work  is  man  !  How  noble  in 
reason !  How  infinite  in  faculties !  In  form  and 
moving,  how  express  and  admirable  !  .  In  action,  how 
like  an  angel !     In  apprehension,  how  like  a  god  ! 

3.  There  is  Boston  and  Concord  and  Lexington 
and  Bunker  Hill,  and  there  they  will  remain  forever. 

4.  But  every-where,  spread  all  over  in  characters  of 


Science  of  Elocution. 

living  light,  blazing  on  all  its  ample  folds,  as  they 
float  over  the  sea  and  over  the  land,  and  in  every  wind 
under  the  whole  heaven,  that  other  sentiment,  dear  to 
every  American  heart — Liberty  and  Union,  now  and 
forever,  one  and  inseparable. 

5.  The  battle,  sir,  is  not  to  the  strong  alone  ;  it  is  to 
the  vigilant,  the  active,  the  brave. 

6.  Days,  months,  years,  and  ages  shall  circle  away, 

And  still  the  vast  waters  above  thee  shall  roll; 
Earth  loses  thy  pattern  forever  and  aye ; 
O  sailor  boy,  sailor  boy,  peace  to  thy  soul. 

7.  I  scorn  to  count  what  feelings,  withered  hopes, 
strong  provocations,  bitter,  burning  wrongs,  I  have 
within  my  heart's  hot  cells  shut  up  to  leave  you  in 
your  lazy  dignities. 


LESSON  LV. 

ACTION. 

Though  it  is  not  the  object  of  this  volume  to  give 
instruction  on  Action  or  Attitude,  yet  it  may  be  well 
to  present  some  suggestions  on  the  position  and  move- 
ments of  the  hands  and  arm  in  gesture,  and  some  hints 
on  the  expression  of  countenance  in  the  illustration  of 
the  emotions  and  passions. 

Action  embraces  all  that  part  of  delivery  which  ad- 
dresses itself  to  the  eye  as  distinguished  from  the  voice, 
which  appeals  alone  to  the  ear.  It  has  always  been  con- 
sidered an  essential  part  of  expression.  Among  the 
ancients  Action  was  regarded  as  even  more  important 
than  Vocal  Utterance.  It  was  a  question  in  Rome 
whether  Cicero  could  express  more  by  his  voice  than 


Action.  283 

Roscius  could  by  his  action.  Demosthenes  gave 
Action  as  the  first,  second,  and  third  qualifications  for 
an  orator*  Action  is  nature's  language  of  expression, 
it  is  the  spontaneous  utterance  of  the  heart,  the  true 
revelation  of  the  soul.  The  voice  may  be  trained  to 
deceive,  words  framed  to  disguise  or  conceal  our 
thoughts,  but  the  glance  of  the  eye,  the  movement  of 
the  hand,  the  shrug  of  the  shoulder,  reveal  our  real 
feelings. 

Action  is  a  universal  language,  it  is  the  same  among 
all  nations,  understood  by  all  peoples.  It  has  survived 
the  confounding  of  tongues,  it  admits  of  no  idiom,  and 
is  not  marred  by  accent  or  brogue.  The  joyous  greet- 
ing is  the  same  with  the  Malay  as  the  American.  The 
savage  understands  the  expression  of  anger  as  well  as 
the  civilized.  The  infant  recognizes  the  mother's 
smile  as  quickly  as  the  sage.  Nature  teaches  us  to  use 
this  language  when  influenced  by  emotion  or  passion, 
but  art  must  be  summoned  when  we  wish  to  express  a 
passion  we  do  not  feel.  The  school-boy  on  the  play- 
ground can  express  anger  which  he  feels  better  than 
Booth  on  the  stage  that  which  he  does  not  feel  ;  the 
mother,  in  her  bereavement,  illustrates  grief  better  than 
Mary  Anderson  in  the  play  ;  but  it  requires  the  genius 
of  a  Booth  or  an  Anderson,  cultured  by  art,  to  portray 
the  passions  they  do  not  feel.  Action  is  a  most  express- 
ive language.  It  is  impossible  to  translate  a  look,  a 
gesture,  an  attitude,  into  words.  The  eye  defies  more 
than  the  tongue — the  lip  scorns  more  than  language 
— the  hand  repels  as  words  cannot. 

Positions  of  the  Hand. 
The  expressiveness  of  Gesture  depends  largely  on  the 
hand.     Next  to  the  tones  of  the  voice  and  the  expres- 


284  Science  of  Elocution. 

sions  of  countenance,  the  hand  has  the  greatest  variety 
and  power  of  expression.  Sheridan  says :  "  Every  one 
knows  that  with  the  hands  we  can  demand  or  promise, 
call,  dismiss,  threaten,  supplicate,  ask,  deny,  show  joy, 
sorrow,  detestation,  fear,  confession,  penitence,  admira- 
tion, respect,  and  many  other  things  now  in  common  use." 

The  hand  is  prone  when  the  palm  is  turned  downward. 

It  is  supine  when  the  palm  is  turned  upward. 

It  is  vertical  when  the  plane  of  the  palm  is  perpen- 
dicular to  the  horizon,  the  fingers  pointing  upward. 

The  natural  state  of  the  fingers,  when  the  arm  is 
hanging  freely  by  the  side,  or  employed  in  unimpas- 
sioned  gesture,  is  that  in  which  the  hand  is  fully  open, 
with  the  forefinger  nearly  straight,  and  slightly  separat- 
ed from  the  middle  finger ;  the  middle  finger  is  more 
bent,  and  rests  partly  on  the  third  finger,  which  it 
gently  touches  ;  the  little  finger  is  still  more  bent,  and 
slightly  separated  from  the  third  finger ;  the  thumb  is 
withdrawn  about  an  inch  from  the  palm,  and  so  placed 
that  a  line  from  the  top  of  it  will  be  a  little  above  the 
line  of  the  forefinger. 

Gesture. 

The  position  of  the  hand,  as  regards  the  palm,  most 
suitable  to  be  adopted  by  the  public  speaker  in  unim 
passioned  gesticulation,  is  that  which  presents  an  incli 
nation  from  the  supine  of  an  angle  of  forty-five  degrees 
and  accompanied  with  a  slight  bend  of  the  wrist  down 
ward,  in  the  direction  of  the  little  finger. 

In  emphatic  or  impassioned  Gesture,  the  hand  may 
be  closed  as  it  is  brought  down. 

Positions  of  the  Arms  in  Repose. 
When  the  arms  are  not  employed  in  Gesture  they 
should  hang  naturally  by  the  side. 


Gesture.  285 

This  position,  however,  too  long  sustained,  becomes 
tiresome  and  monotonous,  and  requires  change.  Where 
the  circumstances  are  favorable  the  left  hand  may  rest 
gently  on  a  table  or  stand,  the  fingers  may  be  placed 
between  the  buttons  of  the  vest,  or  occasionally  the 
left  arm  may  be  thrown  behind  the  body.  In  various 
ways,  the  eye  of  the  audience  as  well  as  the  monotony 
of  the  position  may  be  relieved  by  a  nice  adjustment 
of  the  body  and  arms. 

Positions  and  Movement  of  the  Arms  in  Gesture. 

First.  In  gesticulation,  the  arm  should  be  free  and 
unconstrained,  the  action  proceeding  from  the  shoulder 
rather  than  the  elbow.  The  elbow  should  be  slightly 
curved  and  flexible. 

Second.  The  arm  should  be  so  moved  that  the  hand 
will  always  describe  curved  lines  instead  of  those  which 
are  straight  and  angular,  except  in  the  expression  of 
the  malignant  passions  when  the  hand  moves  in  straight 
lines  and  the  arm  illustrates  angles.  The  curve  is  the 
line  of  beauty,  and  grace  in  the  action  of  the  arm 
depends  materially  on  the  observance  of  this  principle. 

Tliird.  The  arm  should  not  remain  stationary  even 
for  a  moment  while  out  in  gesticulation.  It  should 
either  be  kept  moving  preparatory  to  another  gesture, 
or  return  to  the  side. 

Fourth.  Gestures  ordinarily  should  not  be  made  at 
a  greater  angle  than  forty-five  degrees  back  from  a 
horizontal  line  passing  directly  forward  from  the  center 
of  the  breast. 

Fifth.  The  ease  and  grace  of  the  motion  of  the  arm 
and  hand  will  depend  on  the  free  use  of  the  joints  of 
the  shoulder,  elbow,  and  wrist.  Without  the  free  use 
of  the  wrist-joint  there  can  be  no  grace: 


286  Science  of  Elocution. 

Sixth.  Preference  in  gesticulation  should  be  given 
to  the  right  arm.  As  a  general  rule,  when  the  right 
hand  is  employed  in  Gesture,  the  weight  of  the  body 
should  be  on  the  left  foot,  the  right  advanced. 

Seventh.  Every  act  of  gesture  consists  of  two  parts  : 
preparation  and  termination.  The  former  is  the  pre- 
liminary movement — that  is,  the  elevation  of  the 
hand  before  it  is  brought  down — the  latter  for  which 
the  Gesture  is  made.  In  emphatic  gesticulation  this 
will  be  upon  the  word  that  demands  the  Gesture  and 
just  at  the  instant  of  the  utterance  of  the  accented  part 
of  the  word.  The  expression  of  it  will  just  a  little  pre- 
cede the  vocal  utterance. 

Qualities  of  Gesture. 

The  Qualities  on  which  excellence  of  gesture  depends 
are  Simplicity,  Propriety,  Boldness,  Variety,  Grace. 

1.  Simplicity  of  Gesture  is  a  perfectly  free  and  seem- 
ingly unstudied  movement.  It  appears  to  be  the  natural 
result  of  the  situation  and  sentiments  of  the  speaker. 

Propriety  of  Gesture  is  an  obvious  connection  between 
the  sentiment  and  action  ;  it  is  the  use  of  such  gestures 
as  are  best  suited  to  the  sentiments  and  emotions.  Di- 
dactic thought  will  require  mild  gestures,  argumentative 
utterance,  bolder  and  more  forcible,  impassioned  feel- 
ing, violent  action. 

Holdness  of  Gesture  is  the  firmness  and  decision  of 
the  action — the  striking  and  unexpected  movements  and 
transitions. 

Variety  of  Gesture  is  a  frequent  change  of  action  so 
as  to  avoid  the  too  frequent  recurrence  of  the  same 
Gesture  or  even  the  same  set  of  Gestures. 

Grace  of  Gesture  is  that  easy,  poetic  movement 
of   hand    and   arm,   free    from    angles,    jars,     and 


Gesture.  287 

discords.  It  is  the  embodiment  of  nature  in  art, — that 
which  is  exhibited  in  the  movement  of  every  blade  of 
grass,  of  every  field  of  ripening  grain,  of  every  floating 
cloud  and  rolling  wave. 

Accompaniments  op  Gesture, 
the  body  and  countenance. 
The  movement  of  the  hands  and  arms,  however  per- 
fect, will  not  of  themselves  be  sufficient.  The  head, 
the  body,  the  lower  limbs,  and  even  the  expression  of 
countenance,  must  be  in  harmony  with  the  Gesture.  If 
they  remain  unmoved  and  unexecuted,  the  action  of 
the  hands  and  arms  will  be  simply  that  of  a  well  con- 
trived automaton.  But  with  all  the  physical  powers 
in  harmony  with  the  voice  there  will  be  nothing  want- 
ing for  the  impressive  expression  of  thought  and  feeling. 

Significant  Gestures, 
the  head  and  face. 
The  hanging  down  of  the  head  denotes  shame  or  grief. 
The  holding  of  it  up,  pride  or  courage. 
To  nod  forward  implies  assent. 
To  toss  the  head  back,  dissent. 

The  inclination  of  the   head   implies  diffidence   or 
languor. 

The  head  is  averted  in  dislike  or  horror. 
It  leans  forward  in  attention. 

THE   EYES. 

The  eyes  are  raised  in  prayer. 
They  weep  in  sorrow. 
They  burn  in  anger. 

They  are  downcast  or  averted  in  shame  or  grief. 
They  are  cast  on  vacancy  in  thought. 
They  are  cast  in  various  directions  in  doubt   and 
anxiety. 


288  Science  of  Elocution. 

THE  ARMS. 

The  placing  of  the  hand  on  the  head  indicates  pain 
or  distress. 

On  the  eyes,  shame  or  sorrow. 

On  the  lips,  an  injunction  of  silence. 

On  the  breast,  an  appeal  to  conscience. 

The  hand  is  waved  or  flourished  in  joy  or  contempt. 

Both  hands  are  held  supine,  or  they  are  applied  or 
clasped  in  prayer. 

Both  are  held  prone  in  blessing. 

They  are  clasped  or  wrung  in  affliction. 

They  are  held  forward  and  received  in  friendship. 

THE  BODY. 

The  body,  held  erect,  indicates  steadiness  and  cour- 
age. 

Thrown  back,  pride. 

Stooping  forward,  condescension  or  compassion. 

Bending,  reverence  or  respect. 

Prostrate,  the  utmost  humility  or  abasement. 

THE  LOWER  LIMBS. 

The  firm  position  of  the  lower  limbs  signifies  cour- 
age or  obstinacy. 

Bended  knees  indicate  timidity  or  weakness. 

The  lower  limbs  advance  in  desire  or  courage. 

They  retire  in  aversion  or  fear. 

Start,  in  terror. 

Stamp,  in  authority  or  anger. 

Kneel,  in  submission  and  prayer. 

These  are  a  few  of  the  simple  Gestures  which  may  be 
termed  significant. 

THE  COUNTENANCE. 

The  countenance  has  the  greatest  power  of  expres- 
sion.     With  it  we  supplicate,  we  threaten,  we  soothe, 


Gesture.  289 

we  rouse,  we  rejoice,  we  mourn,  we  triumph,  we 
express  submission.  Upon  the  countenance  the  au- 
dience hangs,  upon  it  their  eyes  are  fixed.  They  ex- 
amine and  study  the  face,  and  often,  before  a  word  is 
spoken,  they  are  impressed  favorably  or  unfavorably. 
"  Whitefield's  face  was,  as  it  were,  a  canvas  upon  which 
he  painted  every  passion  that  stirs  the  human  heart.  It 
was  at  one  moment  terrific,  as  if  all  the  Furies  were 
enthroned  on  that  dark  brow  ;  the  next,  as  by  a  dis- 
solving view,  there  would  come  forth  a  sweetness  that 
savored  of  heaven  itself." 

THE  EYE. 

The  eye  is  the  most  expressive  of  all  the  features.  Its 
power  is  so  great  that  it  determines  in  a  great  degree 
the  expression  of  the  whole  countenance.  Through  it 
the  soul  makes  its  most  clear  and  vivid  manifesta- 
tions. Joy,  grief,  anger,  love,  hatred,  affection,  pity, 
contempt,  all  the  passions,  all  the  emotions  of  the 
human  heart,  express  themselves  with  the  utmost  power 
in  the  eye.  Even  the  lower  animals  recognize  and 
acknowledge  its  power.  The  dog  watches  his  master's 
eye  and  learns  from  it  whether  to  expect  a  caress  or 
chastisement.  The  lion  quails  beneath  the  steady  glare 
of  the  human  eve. 

The  orator  should  avail  himself  of  this  power  and 
keep  his  eye  fixed  upon  the  audience.  He  should  not 
allow  it  to  wander  from  his  audience,  except  when  by  a 
glance  he  indicates  the  direction  of  a  Gesture. 


Questions. 

1.  Define  Action. 

2.  What  is  said  of  its  importance  ? 

3.  What  was  Demosthenes's  opinion  of  Action  ? 

4.  Is  it  a  natural  or  acquired  language  ? 

19 


290  Science  of  Elocution. 

5.  Which  is  the  more  truthful,  Yoice  or  Action  ? 

6.  Is  it  a  universal  or  national  language  ? 

7.  Must  we  be  instructed  in  its  use,  or  do  wo  acquire  it  naturally? 

8.  When  do  we  ueed  instruction  on  Action  ? 

9.  Does  Booth  or  Mary  Audersou  possess  powers  of  expression 

superior  to  ordinary  persons  ? 

10.  Which  is  the  more  expressive,  Words  or  Action  ? 

11.  Upon  what  does  the  expressiveness  of  Gesture  chiefly  depend? 

12.  What  is  said  of  the  expressive  powers  of  the  hand? 

13.  Explain  and  illustrate  the  different  positions  of  the  hand. 

14.  Explain  and  illustrate  the  positions  of  the  arms  in  repose. 

15.  Explain  and  illustrate  the  positions  and  movements  of  the  arms 

in  Gesture. 

16.  What  are  the  qualities  of  Gesture  ? 

17.  Explain  and  illustrate  each. 

18.  What  are  the  accompaniments  of  Gesture  ? 

19.  Mention  and  illustrate  some  significant  Gestures  of  the  head. 

20.  Of  the  Eyes,  the  Arms,  the  Body,  the  Lower  Limbs. 

21.  What  is  said  of  the  Countenance? 

22.  What  of  the  Eye? 


LESSON    LVI. 

THE  PASSIONS. 

It  now  remains  to  say  something  of  those  expressions 
of  countenance  which  indicate  the  passions  and  emotions 
of  the  speaker.  A  full  description  of  each  would  far 
transcend  the  bounds  of  a  work  of  this  kind.  Only  a 
few  can  be  noticed,  and  these  but  briefly. 

"  It  should  be  remarked  in  passing  that  feeling  cannot 
be  expressed  by  words  alone,  or  even  by  the  tones  of  the 
voice.  It  finds  its  best,  and  oftentimes  its  only,  expres- 
sion in  the  flash  of  passion  on  the  cheek,  in  the  speak- 
ing eye,  the  contracted  brow,  the  compressed  lip,  the 
heaving  breast,  the  trembling  frame,  in  the  rigid  muscle 
and  the  general  bearing  of  the  entire  body;  and  whefi 


The  Passions.  291 

emotion  or  passion  thus  speaks,  its  language  is  often 
confined  to  no  particular  part  of  the  body,  but  the 
living  frame  as  a  whole  sympathizes  in  the  action." 

TRANQUILLITY. 

Tranquillity  appears  by  the  composure  of  the  counte- 
nance and  general  repose  of  the  whole  body,  without 
the  exertion  of  any  one  muscle.  The  countenance  open, 
the  forehead  smooth,  the  eyebrows  arched,  the  mouth 
not  quite  shut,  and  the  eyes  passing  with  an  easy  mo- 
tion from  object  to  object,  but  not  dwelling  long  upon 

any  one. 

Night. 


SHELLEY 


How  beautiful  this  night !     The  balmiest  sigh, 

Which  vernal  zephyrs  breathe  in  Evening's  ear, 

Were  discord  to  the  speaking  quietude 

That  wraps  this  moveless  scene.     Heaven's  ebon  vault, 

Studded  with  stars  unutterably  bright, 

Through  which  the  moon's  unclouded  grandeur  rolls, 

Seems  like  a  canopy  which  love  has  spread 

To  curtain  her  sleeping  world.     Yon  gentle  hills, 

Robed  in  a  garment  of  untrodden  snow ; 

Yon  darksome  rocks,  whence  icicles  depend — 

So  stainless,  that  their  white  and  glittering  spires 

Tinge  not  the  moon's  pure  beam ;  yon  castled  steep, 

Whose  banner  hangeth  o'er   the  time-worn  tower 

So  idly,  that  rapt  fancy  deemeth  it 

A  metaphor  of  peace ;  all  form  a  scene 

Where  musing  solitude  might  love  to  lift 

Her  soul  above  this  sphere  of  earthlinesss; 

Where  silence,  undisturbed,  might  watch  alone, 

So  cold,  so  bright,  so  still. 

CHEERFULNESS. 

When  joy  is  settled  into  a  habit,  or  flows  from  a 
placid  temper  of  mind,  desiring  to  please  and  be  pleased, 
it  is  called  gayety,  good  humor,  or  cheerfulness.    Cheer' 


Science  of  Elocution. 

fulness  adds  a  smile  to  tranquillity,  and  opens  the  mouth 
a  little  more. 

Now,  my  co-mates  and  brothers  in  exile, 
Hath  not  old  custom  made  this  life  more  sweet 
Than  that  of  painted  pomp?    Are  not  these  woods 
More  free  from  peril  than  the  envious  court? 
Here  feel  we  but  the  penalty  of  Adam, 
The  season's  difference ;  as  the  icy  fang 
And  churlish  chiding  of  the  winter's  wind, 
Which,  when  it  bites  and  blows  upon  my  body 
Even  till  I  shrink  with  cold,  I  smile  and  say, 
This  is  no  flattery ;  these  are  counselors 
That  feelingly  persuade  me  what  I  am. 
Sweet  are  the  uses  of  adversity, 
That  like  a  toad,  ugly  and  venomous, 
Wears  yet  a  precious  jewel  in  its  head ; 
And  this  our  life  exempt  from  public  haunts, 
Finds  tongues  in  trees,  books  in  the  running  brooks, 
Sermons  in  stones,  and  good  in  every  thing. 

— As  You  Like  It. 

MIRTH. 

When  joy  arises  from  ludicrous  or  fugitive  amuse- 
ments in  which  others  share  with  us  it  is  called  merri- 
ment or  mirth. 

Mirth  or  laughter  opens  the  mouth  horizontally,  raises 
the  cheeks  high,  lessens  the  aperture  of  the  eyes,  and, 
when  violent,  shakes  and  convulses  the  whole  frame, 
fills  the  eyes  with  tears,  and  causes  holding  the  sides 
from  the  pain  the  convulsive  laughter  gives  them. 

Jaq.  A  fool,  a  fool  1    I  met  a  fool  i'  the  forest, 
A  motley  fool ;  a  miserable  world ! 
As  I  do  live  by  food,  I  met  a  fool ; 
Who  laid  him  down  and  basked  him  in  the  sun, 
And  railed  on  Lady  Fortune,  in  good  terms, 
In  good  set  terms,  and  yet  a  motley  fool. 
"Good-morrow,  fool,"  quoth  I:  "No,  sir,"  quoth  he, 
"Oall  me  not  fool  till  heaven  hath  sent  me  fortune." 


The  Passions.  293 

And  then  he  drew  a  dial  from  his  poke : 

And  looking  on  it  with  lack-luster  eye, 

Says,  very  wisely,  "  It  is  ten  o'clock. 

Thus  may  we  see,"  quoth  he,  "how  the  world  wags. 

'Tis  but  an  hour  ago  since  it  was  nine, 

And  after  an  hour  more  'twill  be  eleven ; 

And  so  from  hour  to  hour  we  ripe  and  ripe, 

And  then  from  hour  to  hour  we  rot  and  rot, 

And  thereby  hangs  a  tale."     "When  I  did  hear 

The  motley  fool  thus  moral  on  the  time, 

My  lungs  began  to  crow  like  chanticleer, 

That  fools  should  be  so  deep  contemplative ; 

And  I  did  laugh,  sans  intermission, 

An  hour  by  his  dial.     O  noble  fool ! 

A  worthy  fool !       Motley's  the  only  wear. 

JOY. 

A  pleasing  elation  of  mind  on  the  actual  or  assured 
attainment  of  good,  or  deliverance  from  evil,  is  called 

joy- 
Joy,  when  moderate,  opens  the  countenance  with 
smiles,  and  throws,  as  it  were,  a  sunshine  of  delectation 
over  the  whole  frame.  When  it  is  sudden  and  violent 
it  expresses  itself  by  clapping  the  hands,  raising  the 
eyes  toward  heaven,  and  giving  such  a  spring  to  the 
body  as  to  make  it  attempt  to  mount  up  as  if  it  could 
fly.  When  joy  is  extreme,  and  goes  into  transport, 
rapture,  and  ecstasy,  it  has  a  wildness  of  look  and  gest- 
ure that  borders  on  folly,  madness,  and  sorrow. 

Joy  Expected. 
Ah,  Juliet,  if  the  measure  of  thy  joy 
Be  heaped  like  mine,  and  that  thy  skill  be  more 
To  blazon  it,  then  sweeten  with  thy  breath 
This  neighbor  air,  and  let  rich  Music's  tongue 
Unfold  the  imagined  happiness  that  both 
Receive  in  either  by  this  dear  encounter. 

— Romeo  and  Juliet. 


294  Science  of  Elocution. 

Joy  Approaching  to  Transport. 
O!   Joy,  thou  welcome  stranger,  twice  three  years 
I  have  not  felt  my  vital  beam,  but  now 
It  warms  my  veins,  and  plays  about  my  heart; 
A  fiery  instinct  lifts  me  from  the  ground, 
And  I  could  mount. — Dr.  Young 's  Revenge. 

PITY. 

Pity  is  benevolence  to  the  afflicted.  It  is  a  mixture 
of  love  for  an  object  that  suffers,  and  a  grief  that  we 
are  not  able  to  remove  those  sufferings.  It  shows  itself 
in  a  compassionate  tenderness  of  voice,  a  feeling  of  pain 
in  the  countenance,  and  a  gentle  raising  and  falling  of 
the  hands  and  eyes,  as  if  mourning  over  the  unhappy 
object.  The  mouth  is  open,  the  eyebrows  are  drawn 
down,  and  the  features  contracted  or  drawn  together. 

Pity  for  a  Departed  Friend. 
Alas,  poor  Yorick!  I  knew  him,  Horatio;  a  fellow  of  infi- 
nite jest,  of  most  excellent  fancy.  He  hath  borne  me  on  his 
back  a  thousand  times,  and  now  how  abhorred  in  my  imagi- 
nation it  is;  my  gorge  rises  at  it.  Here  hung  those  lips  that  I 
have  kissed  I  know  not  how  oft.  Where  be  your  gibes  now? 
your  gambols?  your  songs?  your  flashes  of  merriment,  that 
were  wont  to  set  the  table  on  a  roar?  Not  one  now  to  mock 
your  own  grinning!  Quite  chop-fallen !  Now  get  thee  to  my 
lady's  chamber,  and  tell  her,  let  her  paint  an  inch  thick,  to 
this  favor  she  must  come;  make  her  laugh  at  that. — Hamlet. 

HOPE. 

Hope  is  a  mixture  of  desire  and  joy  agitating  the 
mind  and  anticipating  its  enjoyment.  It  erects  and 
brightens  the  countenance,  spreads  the  arms  and  hands 
open  as  to  receive  the  object  of  its  wishes.  The  voice 
is  plaintive  and  inclined  to  eagerness,  the  breath  drawn 
inward  more  forcibly  than  usual  in  order  to  express  our 
desire  more  strongly,  and  our  earnest  expectation  of 
receiving  the  object  of  them. 


The  Passions. 

Collins,  in  his   "  Ode   on   the   Passions,"  gives  us  a 
beautiful  picture  of 


But  thou,  O  Hope !  with  eyes  so  fair, 

What  was  thy  delighted  measure? 

Still  it  whispered  promised  pleasure, 
And  bade  the  lovely  scenes  at  distance  hail. 

Still  would  her  touch  the  strain  prolong, 
And  from  the  rocks,  the  woods,  the  vale, 

She  called  on  Echo  still  through  all  her  song ; 
And,  where  her  sweetest  theme  she  chose, 
A  soft  responsive  voice  was  heard  at  every  close, 
And  Hope,  enchanted,  smiled,  and  waved  her  golden  hair. 


Hatred  or  Aversion  draws  back  the  body  as  if  to 
avoid  the  hated  object,  the  hands  at  the  same  time 
thrown  outspread  as  if  to  keep  it  off.  The  face  is 
turned  away  from  that  side  toward  which  the  hands  are 
thrown  out,  the  eyes  looking  angrily  and  obliquely  the 
same  way  the  hands  are  directed;  the  eyebrows  are 
contracted,  the  upper  lip  disdainfully  drawn  up,  and 
the  teeth  set ;  the  pitch  of  the  voice  is  low,  but  loud 
and  harsh,  the  tone  chiding,  unequal,  surly,  and  vehe- 
ment. 

Hatred  and  Rtvenge. 
How  like  a  fawning  publican  he  looks' 
I  hate  him,  for  he  is  a  Christian : 
But  more,  for  that  in  low  simplicity, 
He  lends  out  money  gratis,  and  brings  down 
The  rate  of  usance  here  with  us  in  Venice : 
If  I  can  catch  him  once  upon  the  hip, 
I  will  feed  fat  the  ancient  grudge  I  bear  him. 
He  hates  our  sacred  nation ;  and  he  rails, 
Even  there  where  merchants  most  do  congregate, 
On  me,  my  bargains,  and  my  well-won  thrift, 
Which  he  calls  interest ;  Cursed  be  my  tribe, 
If  I  forgive  him ! — Merchant  of  F 


296  Science  of  Elocution. 

Hatred  Cursing  the  Object  Bated. 
Poison  be  their  drink, 
Gall,  worse  than  gall,  the  daintiest  meat  they  taste : 
Their  sweetest  shade  a  grove  of  cypress-trees, 
Their  sweetest  prospects  murdering  basilisks, 
Their  softest  touch  as  smart  as  lizards'  stings, 
Their  music  frightful  as  the  serpent's  hiss, 
And  boding  screech-owls  make  the  concert  full ; 
All  the  foul  terrors  of  dark-seated  hell. — Henry  VI. 

ANGER,  RAGE,  FURY. 

When  hatred  and  displeasure  rise  high  suddenly  from 
an  apprehension  of  injury  received,  and  perturbation  of 
mind  in  consequence  of  it,  it  is  called  anger ;  and  ris- 
ing to  a  very  high  degree,  and  extinguishing  humanity, 
it  becomes  rage  and  fury. 

Anger,  when  violent,  expresses  itself  with  rapidity, 
noise,  harshness,  and  sometimes  with  interruption  and 
hesitation,  as  if  unable  to  utter  itself  with  sufficient 
force.  It  wrinkles  the  brow,  enlarges  and  heaves  the 
nostrils,  strains  the  muscles,  clenches  the  fist,  stamps 
with  the  foot,  and  gives  a  violent  agitation  to  the  whole 
body.  The  voice  assumes  the  highest  tone  it  can  adopt 
consistently  with  force  and  loudness,  though  some- 
times, to  express  anger  with  uncommon  energy,  the 
voice  assumes  a  low  and  forcible  tone. 
Anger  and  Scorn. 

Thou  den  of  drunkards  with  the  blood  of  princes ! 

Gehenna  of  the  waters !  thou  sea  Sodom ! 

Thus  I  devote  thee  to  the  infernal  gods ! 

Thee  and  thy  serpent  seed!     Slave,  do  thine  office! 

Strike  as  I  struck  the  foe !     Strike  as  I  would 

Have  struck  those  tyrants !     Strike  deep  as  my  curse ! 

Strike,  and  but  once. 

Scorn  and  Violent  Anger,  Reproving. 
Grace  me  no  grace,  nor  uncle  me  no  uncle ; 
I  am  no  traitor's  uncle ;  and  that  word — grace, 


The  Passions.  297 

In  an  ungracious  mouth  is  but  profane, 

Why  have  those  banished  and  forbidden  legs 

Dared  once  to  touch  a  dust  of  England's  ground  ? 

But  more  than  why — why  have  they  dared  to  march 

So  many  miles  upon  her  peaceful  bosom ; 

Frightening  her  pale-faced  villages  with  war, 

And  ostentation  of  despised  arms? 

Comest  thou  because  the  anointed  king  is  hence? 

Why,  foolish  boy,  the  king  is  left  behind, 

And  in  my  loyal  bosom  lies  his  power. 

Were  I  but  now  the  lord  of  such  hot  youth 

As  when,  brave  Gaunt,  thy  father,  and  myself 

Rescued  the  Black  Prince,  that  young  Mars  of  men, 

From  forth  the  ranks  of  many  thousand  French ; 

O,  then,  how  quickly  should  this  arm  of  mine, 

Now  prisoner  to  the  palsy,  chastise  thee, 

And  minister  correction  to  thy  fault ! — Richard  II. 

REVENGE. 

Revenge  is  a  propensity  and  endeavor  to  injure  the 
offender,  which  is  attended  with  triumph  and  exulta- 
tion when  the  injury  is  accomplished.  It  expresses 
itself  like  malice,  but  more  openly,  loudly,  and  tri- 
umphantly. 

Eager  Revenge. 

O  I  could  play  the  woman  with  mine  eyes, 

And  braggart  with  my  tongue !     But,  gentle  heaven, 

Cut  short  all  intermission :  front  to  front, 

Bring  thou  this  fiend  of  Scotland  and  myself ; 

Within  my  sword's  length  set  him :  if  he  'scape, 

Heaven  forgive  him  too ! — Macbeth. 

Intense  Revenge. 
If  it  will  feed  nothing  else,  it  will  feed  my  revenge.  He 
hath  disgraced  me,  and  hindered  me  of  half  a  million :  laughed 
at  my  losses,  mocked  at  my  gains,  scorned  my  nation, 
thwarted  my  bargains,  cooled  my  friends,  heated  my  enemies  ; 
and  what's  his  reason  ? — I  am  a  Jew.  Hath  not  a  Jew  eyes  ? 
hath  not  a  Jew  hands,   organs,  dimensions,  senses,  affection*. 


298  Science  of  Elocution. 

passions  ? — fed  with  the  same  food,  hurt  with  the  same  weap- 
ons, subject  to  the  same  diseases,  healed  by  the  same  means, 
warmed  and  cooled  by  the  same  winter  and  summer,  as  a 
Christian  is  ?  If  you  prick  us,  do  we  not  bleed  ?  If  you 
tickle  us,  do  we  not  laugh  ?  If  you  poison  us,  do  we  not  die? 
and  if  you  wrong  us,  shall  we  not  revenge  ?  If  we  are  like 
you  in  the  rest,  we  will  resemble  you  in  that.  If  a  Jew  wrong 
a  Christian,  what  is  his  humility  ?  revenge !  If  a  Christian 
wrong  a  Jew  what  should  his  sufferance  be  by  Christian 
example  ?  why,  revenge !  The  villainy  you  teach  me,  I  will 
execute,  and  it  shall  go  hard,  but  I  will  better  the  instruction. 
— Merchant  of  Venice. 

BEPEOACH. 

Reproach  is  settled  anger  or  hatred,  chastising  the 
object  of  dislike  by  casting  in  his  teeth  the  severest 
censures  upon  his  imperfections  or  misconduct.  The 
brow  is  contracted,  the  lip  turned  up  with  scorn,  the 
head  shaken,  the  voice  low,  as  if  abhorring,  and  the 
whole  body  expressive  of  aversion. 

Reproaching  with  Want  of  Friendship. 
You  have  done  that  you  should  be  sorry  for. 
There  is  no  terror,  Cassius,  in  your  threats ; 
For  I  am  armed  so  strong  in  honesty, 
That  they  pass  me  by  as  the  idle  wind 
Which  I  respect  not.     I  did  send  to  you 
For  certain  sums  of  gold,  which  you  denied  me. 
For  I  can  raise  no  money  by  vile  means : 
By  heaven,  I  had  rather  coin  my  heart, 
And  drop  my  blood  for  drachmas,  than  to  wring 
From  the  hard  hands  of  peasants  their  vile  trash 
By  any  indirection.     I  did  send 
To  you  for  gold  to  pay  my  legions, 
Which  you  denied  me.     Was  that  done  like  Cassius  ? 
Should  I  have  answered  Caius  Cassius  so  ? 
When  Marcus  Brutus  grows  so  covetous, 
To  lock  such  rascal  counters  from  his  friends, 
Be  ready,  gods,  with  all  your  thunder-bolts, 
Dash  him  to  pieces ! 


The  Passions.  299 

Reproach  with  Want  of  Courage  and  Spirit. 

Thou  slave !  thou  wretch !  thou  coward  ! 
Thou  little  valiant,  great  in  villainy ! 
Thou  ever  strong  upon  the  stronger  side ! 
Thou  fortune's  champion,  thou  dost  never  fight 
But  when  her  humorous  ladyship  is  by 
To  teach  thee  safety !     Thou  art  perjured,  too, 
And  sooth'st  up  greatness.     What  a  fool  art  thou, 
A  ramping  fool,  to  brag,  and  stamp,  and  sweat, 
Upon  my  party !     Thou  cold-blooded  slave, 
Hast  thou  not  spoke  like  thunder  on  my  side  ? 
Been  sworn  my  soldier  ?  bidding  me  depend 
Upon  thy  stars,  thy  fortune,  and  thy  strength  ? 
And  dost  thou  now  fall  over  to  my  foes  ? 
Thou  wear'st  a  lion's  hide.     Doff  it  for  shame, 
And  hang  a  calf's  skin  on  those  recreant  limbs. 

FEAR  AND   TERROR. 

Fear  is  a  mixture  of  aversion  and  sorrow,  discompos- 
ing and  debilitating  the  mind  upon  the  approach  or  an- 
ticipation of  evil.  When  this  is  attended  with  surprise 
and  much  discomposure  it  grows  into  terror  and  con- 
sternation. 

Fear,  violent  and  sudden,  opens  wide  the  eyes  and 
mouth,  shortens  the  nose,  gives  the  countenance  an  air 
of  wildness,  covers  it  with  deadly  paleness,  draws  back 
the  elbows  parallel  with  the  sides,  lifts  up  the  open 
hands,  with  the  fingers  spread,  to  the  height  of  the 
breast,  at  some  distance  before  it,  so  as  to  shield  it  from 
the  dreadful  object.  One  foot  is  drawn  back  behind 
the  other,  so  that  the  body  seems  shrinking  from  the 
danger,  and  putting  itself  in  a  posture  for  flight.  The 
heart  beats  violently,  the  breath  is  quick  and  short,  and 
the  whole  body  is  thrown  into  a  general  tremor.  The 
voice  is  weak  and  trembling,  the  sentences  are  short 
and  the  meaning  confused  and  incoherent. 


300  Science  of  Elocution. 

Terror  of  Evening  and  Night  Described 

Light  thickens;  and  the  crow 

Makes  wing  to  the  rooky  wood : 

Good  things  of  day  begin  to  droop  and  drouse; 

While  Night's  black  agents  to  their  prey  do  rouse, 

Thou  marvelest  at  my  words ;  but  hold  thee  still  ; 

Things  bad  begun,  make  strong  themselves  by  ill. 

— Macbeth. 
Fear  from  a  Dreadful  Object. 
Angels  and  ministers  of  grace,  defend  us ! 
Be  thou  a  spirit  of  health  or  goblin  damned, 
Bring  with  thee  airs  from  heaven  or  blasts  from  hell, 
Be  thy  intents  wicked  or  charitable, 
Thou  com'st  in  such  a  questionable  shape 
That  I  will  speak  to  thee :  I'll  call  thee  Hamlet, 
King,  father,  royal  Dane :  O  answer  me ! 
Let  me  not  burst  in  ignorance. — Hamlet. 

Fear  of  Being  Discovered  in  Murder. 

Alack !     I  am  afraid  they  have  awaked, 
And  'tis  not  done !   the  attempt,  and  not  the  deed, 
Confounds  us.     Hark !     I  laid  their  daggers  ready 
He  could  not  miss  them !     Had  he  not  resembled 
My  father  as  he  slept  I  had  done't ! — Macbeth. 

SORROW. 

Sorrow  is  a  painful  depression  of  spirit  upon  the  dep- 
rivation of  good  or  arrival  of  evil.  When  it  is  silent 
and  thoughtful,  it  is  sadness;  when  long  indulged,  so 
as  to  prey  upon  and  possess  the  mind,  it  becomes  habit- 
ual, and  grows  into  melancholy ;  when  tossed  by  hopes 
and  fears,  it  is  distraction  ;  when  these  are  swallowed  up, 
it  settles  into  despair. 

In  moderate  sorrow  the  countenance  is  dejected,  the 
eyes  are  cast  downward,  the  arms  hang  loosely,  some- 
times a  little  raised,  suddenly  to  fall  again;  the  hands 
open,  the  fingers  spread,  and  the  voice  plaintive,  fre- 


The  Passions.  301 

quently  interrupted  by  sighs.  But  when  this  passion 
is  in  excess  it  distorts  the  countenance,  as  if  in  agonies 
of  pain ;  it  raises  the  voice  to  the  loudest  complainings, 
and  sometimes  even  to  cries  and  shrieks ;  it  wrings  the 
hands,  beats  the  head  and  breast,  tears  the  hair,  and 
throws  itself  on  the  ground,  and,  like  other  passions  in 
excess,  seems  to  border  on  frenzy. 

Sadness. 
In  sooth,  I  know  not  why  I  am  so  sad. 
It  wearies  me ;  you  say  it  wearies  you : 
But  how  I  caught  it,  found  it,  or  came  by  it, 
What  stuff  'tis  made  of,  whereof  'tis  born, 
I  am  to  learn. 

And  such  a  want- wit  sadness  makes  of  me, 
That  I  have  much  ado  to  know  myself. 

Silent  Grief. 
Seems,  madam !  nay,  it  is ;  I  know  not  seems. 
'Tis  not  alone  my  inky  cloak,  good  mother, 
Nor  the  dejected  'havior  of  the  visage, 
No,  nor  the  fruitful  river  in  the  eye, 
Together  with  all  forms,  modes,  shows  of  grief, 
That  can  denote  me  truly;  these,  indeed,  seem, 
For  they  are  actions  that  a  man  might  play ; 
But  I  have  that  within  which  passeth  show; 
These  but  the  trappings  and  the  suits  of  woe. 

SNEER. 

Sneer  is  ironical  approbation,  where,  with  a  voice  and 
countenance  of  mirth  somewhat  exaggerated,  we  cast 
•tfie  severest  censures ;  it  is  hypocritical  mirth  and  good 
humor,  and  differs  from  the  real  by  the  satirical  tone  of 
voice,  look,  and  gesture  which  accompany  it. 

Satire,  Irony. 
What  should  I  say  to  you  ?     Should  I  not  say, 
1 '  Hath  a  dog  money  ?    Is  it  possible 
A  cur  can  lend  three  thousand  ducats  ? "  or 


302  Science  of  Elocution. 

Shall  I  bend  low,  and,  in  a  bondman's  key, 
With  'bated  breath,  and  whispering  humbleness, 
Say  this,  — 

"Fair  sir,  you  spit  on  me  on  Wednesday  last; 
You  spurned  me  such  a  day ;  another  time 
You  called  me — dog ;  and  for  these  courtesies 
I'll  lend  you  thus  much  moneys." 

SURPRISE,  WONDER,  AMAZEMENT,    ASTONISHMENT. 

Wonder  or  amazement  opens  the  eyes  and  makes 
them  appear  very  prominent.  It  sometimes  raises  them 
to  the  skies,  but  more  frequently  fixes  them  on  the  ob- 
ject. The  mouth  is  open,  and  the  hands  are  held  up 
nearly  in  the  attitude  of  fear.  The  voice  is  at  first  low, 
but  so  emphatic  that  every  word  is  pronounced  slowly 
and  with  energy.  When,  by  the  discovery  of  some- 
thing excellent  in  the  object  of  wonder,  the  emotion 
may  be  called  admiration,  the  eyes  are  raised,  the  hands 
lifted  up  or  clasped  together,  and  the  voice  elevated 
with  expressions  of  rapture. 

Surprise  at  Unexpected  Events. 

Gone  to  be  married?  gone  to  swear  a  peace? 

False  blood  to  false  blood  joined?  gone  to  be  friends? 

Shall  Lewis  have  Blanche,  and  Blanche  those  provinces? 

It  is  not  so:  thou  hast  misspoke,  misheard: 

Be  well  advised,  tell  o'er  thy  tale  again : 

It  cannot  be !  thou  dost  but  say  'tis  so ! 

What  dost  thou  mean  by  shaking  of  thy  head? 

Why  dost  thou  look  so  sadly  on  my  son? 

What  means  that  hand  upon  that  breast  of  thine? 

Why  holds  thine  eye  that  lamentable  rheum, 

Like  a  proud  river  x>eering  o'er  his  bounds? 

Be  these  sad  signs  confirmers  of  thy  words? 

Then  speak  again ;  not  all  thy  former  tale, 

But  this  one  word,  whether  thy  tale  be  true. — King  John. 


The  Passions.  303 

vexation. 
Vexation,  besides  expressing  itself  by  the  looks,  gest- 
ures, tone,  and  restlessness  of  perplexity,  adds  to  these 
complaint,  fretting,  and  remorse. 

Vexation  at  Neglecting  One's  Duty. 
O  what  a  rogue  and  peasant  slave  am  I ! 
Is  it  not  monstrous,  that  this  player  here, 
But  in  a  fiction,  in  a  dream  of  passion, 
Could  force  his  soul  so  to  his  own  conceit, 
That,  from  her  working,  all  his  visage  wann'd ; 
Tears  in  his  eyes,  distraction  in's  aspect, 
A  broken  voice,  and  his  whole  function  suiting 
"With  forms  to  his  conceit?     And  all  for  nothing? 
For  Hecuba ! 

What's  Hecuba  to  him,  or  he  to  Hecuba, 
That  he  should  weep  for  her? — Hamlet. 

SHAME. 

Shame  turns  away  the  face  from  the  beholders, 
covers  it  with  blushes,  hangs  the  head,  casts  down 
the  eyes,  draws  down  and  contracts  the  eyebrows.  It 
either  strikes  the  person  dumb,  or,  if  he  attempts  to 
say  any  thing  in  his  own  defense,  causes  his  tongue  to 
falter,  confounds  his  utterance,  and  puts  him  upon  mak- 
ing a  thousand  gestures  and  grimaces  to  keep  himself  in 
countenance ;  all  which  only  heighten  his  confusion  and 
embarrassment. 

Shame  at  Being  Convicted  of  a  Crime. 
O  my  dread  lord, 
I  should  be  guiltier  than  my  guiltiness, 
To  think  I  can  be  undiscernible 
When  I  perceive  your  grace,  like  power  divine, 
Hath  looked  upon  my  passes ;  then,  good  prince, 
No  longer  session  hold  upon  my  shame, 
But  let  my  trial  be  mine  own  confession : 
Immediate  sentence,  then,  and  sequent  death, 
Is  all  the  grace  I  beg. — Measure  for  Measure. 


304  Science  of  Elocution. 

gravity. 
Gravity,  or  seriousness,  as  when  the  mind  is  fixed,  or 
deliberating  on  some  important  subject,  smooths  the 
countenance,  and  gives  it  an  air  of  melancholy;  the  eye- 
brows are  lowered,  eyes  cast  downward,  the  mouth  al- 
most shut,  and  sometimes  a  little  contracted.  The  post- 
ure of  the  body  and  limbs  is  composed,  and  without 
much  motion;  the  speech  slow  and  solemn,  the  tone 
without  much  variety. 

Grave  Deliberation  on  War  and  Peace. 
Fathers,  we  once  again  are  met  in  council: 
Caesar's  approach  has  summoned  us  together, 
And  Rome  attends  her  fate  from  our  resolves. 
How  shall  we  treat  this  bold  aspiring  man? 
Success  still  follows  him  and  backs  his  crimes. 
Pharsalia  gave  him  Rome.     Egypt  has  since 
Received  his  yoke,  and  the  whole  Nile  is  Caesar's. 
Why  should  I  mention  Juba's  overthrow, 
Or  Scipio's  death?     Numidia's  burning  sands 
Still  smoke  with  blood ;  'tis  time  we  should  decree 
What  course  to  take :  our  foe  advances  on  us, 
And  envies  us  even  Libya's  sultry  deserts. 
Fathers,  pronounce  your  thoughts ;  are  they  still  fixed, 
To  hold  it  out  and  fight  it  to  the  last? 
Or  are  your  hearts  subdued  at  length,  and  wrought, 
By  time  and  ill-success,  to  a  submission? 
Sempronius,  speak. — Addisorts  Cato. 

Commanding. 
Commanding  requires  peremptory  air,  with  a  look 
a  little  severe  or  stern.  The  hand  is  held  out  and 
moved  toward  the  person  to  whom  the  order  is 
given,  and  sometimes  it  is  accompanied  by  a  nod  of 
the  head  to  the  person  commanded.  If  the  com- 
mand be  absolute,  and  to  a  person  unwilling  to  obey, 


The  Passions.  305 

the   right   hand  is  extended  and    projected   forcibly 
toward  the  person  commanded. 

Commanding  Combatants  to  Fight. 
We  were  born  not  to  sue,  but  to  command ; 
Which  since  we  cannot  do  to  make  you  friends, 
Be  ready,  as  your  lives  shall  answer  it, 
At  Coventry,  upon  St.  Lambert's  day ; 
There  shall  your  swords  and  lances  arbitrate 
The  swelling  difference  of  your  settled  hate. 
Since  we  cannot  atone  you,  you  shall  see 
Justice  decide  the  victor's  chivalry. 
Lord  Marshal,  command  our  officers  at  arms 
Be  ready  to  direct  these  home  alarms. — Richard  II. 
20 


306  Science  of  Elocution. 


SELECTIONS. 


Duty  of  Literary  Men  to  their  Country. 

GRIMKE. 

1.  We  cannot  honor  our  country  with  too  deep  a  reverence ; 
we  cannot  love  her  with  an  affection  too  pure  and  fervent ;  we 
cannot  serve  her  with  an  energy  of  purpose  or  a  faithfulness  of 
zeal  too  steadfast  and  ardent.  And  what  is  our  country  ?  It 
is  not  the  East,  with  her  hills  and  her  valleys,  with  her  count- 
less sails  and  the  rocky  ramparts  of  her  shores ;  it  is  not  the 
North,  with  her  thousand  villages,  and  her  harvest-home, 
with  her  frontiers  of  the  lake  and  the  ocean;  it  is  not  the 
West,  with  her  forest-sea  and  her  inland  isles,  with  her  luxu- 
riant expanses,  clothed  in  the  verdant  corn,  with  her  beautiful 
Ohio  and  her  majestic  Missouri ;  nor  is  it  yet  the  South,  opu- 
lent in  the  mimic  snow  of  the  cotton,  in  the  rich  plantations 
of  the  rustling  cane  and  in  the  golden  robes  of  the  rice-field. 
What  are  these  but  the  sister  families  of  one  greater,  better, 
holier  family — our  country  ? 

2.  I  come  not  here  to  speak  the  dialect  or  to  give  the  coun- 
sels of  the  patriot-statesman ;  but  I  come,  a  patriot  scholar,  to 
vindicate  the  rights  and  to  plead  for  the  interests  of  American 
literature.  And  be  assured  that  we  cannot,  as  patriot-schol- 
ars, think  too  highly  of  that  country,  or  sacrifice  too  much  for 
her.  And  let  us  never  forget — let  us  rather  remember — with  a 
religious  awe  that  the  union  of  these  States  is  indispensable  to 
our  national  independence  and  civil  liberties,  to  our  prosperity, 
happiness,  and  improvement. 

3.  If,  indeed,  we  desire  to  have  a  literature  like  that  which 
has  sculptured  with  such  energy  of  expression,  which  has 
painted  so  faithfully  and  vividly,  the  crimes,  the  vices,  the 
follies  of  ancient  and  modern  Europe — if  we  desire  that  our 
land  should  furnish  for  the  orator  and  the  novelist,   for  the 


Oratorical  Style.  307 

painter  and  the  poet,  age  after  age,  the  wild  and  romantic 
scenery  of  war ;  the  glittering  march  of  armies  and  the  revelry 
of  the  camp ;  the  shrieks  and  blasphemies  and  all  the  horrors 
of  the  battle-field ;  the  desolation  of  the  harvest  and  the  burn- 
ing cottage ;  the  storm,  the  sack,  and  the  ruin  of  cities — if  we 
desire  to  unchain  the  furious  passions  of  jealousy  and  selfish- 
ness, of  hatred,  revenge,  and  ambition,  those  lions  that  now 
sleep  harmless  in  their  dens ;  if  we  desire  that  the  lake,  the 
river,  the  oceans  should  blush  with  the  blood  of  brothers; 
that  the  wind  should  waft  from  the  land  to  the  sea,  from  the 
sea  to  the  land,  the  roar  and  the  smoke  of  the  battle,  that  the 
very  mountain-tops  should  become  altars  for  the  sacrifice  of 
brothers ;  if  we  desire  that  these  and  such  as  these — the  ele- 
ments to  a  certain  extent  of  the  literature  of  the  Old  "World — 
should  be  the  elements  of  our  literature ;  then,  but  then  only, 
let  us  hurl  from  its  pedestal  the  majestic  statue  of  our  Union, 
and  scatter  its  fragments  over  all  our  land. 

4.  But  if  we  covet  for  our  country  the  noblest,  purest, 
holiest  literature  the  world  has  ever  seen,  such  a  literature  as 
shall  honor  God  and  bless  mankind — a  literature  whose  smiles 
might  play  upon  an  angel's  face, whose  tears  "  would  not  stain 
an  angel's  cheek,"  then  let  us  cling  to  the  union  of  these  States 
with  a  patriot's  love,  with  a  scholar's  enthusiasm,  with  a 
Christian's  hope.  In  her  heavenly  character,  as  a  holocaust 
self- sacrificed  to  God;  at  the  height  of  her  glory,  as  the  orna- 
ment of  a  free,  educated,  peaceful,  Christian  people.  American 
literature  will  find  that  the  intellectual  spirit  is  her  very  tree 
of  life,  and  the  Union  her  garden  of  paradise. 


Napoleon  Bonaparte. 


1.  He  is  fallen!  We  may  now  pause  before  that  splendid 
prodigy  which  towered  among  us  like  some  ancient  ruin, 
whose  frown  terrified  the  glance  its  magnificence  attracted. 
Grand,  gloomy,  and  peculiar,  he  sat  upon  his  throne,  a  scep- 
tered  hermit,  wrapt  in  the  solitude  of  his  own  originality.  A 
mind  bold,  independent  and  decisive  ;  a  will  despotic  in  its 
dictates;   an  energy  that  distanced   expedition  and  a   con- 


308  Science  of  Elocution. 

science  pliable  to  every  touch  of  interest  marked  the  outline 
of  this  extraordinary  character;  the  most  extraordinary,  per- 
haps, that  in  the  annals  of  this  world  ever  rose  or  reigned  or  fell. 

2.  Flung  into  life  in  the  midst  of  a  revolution  that  quick- 
ened every  energy  of  a  people  who  acknowledge  no  superior,  he 
commenced  his  course,  a  stranger  by  birth,  and  a  scholar  by 
charity.  With  no  friend  but  his  sword,  and  no  fortune  but  his 
talents,  he  rushed  into  the  lists  where  rank  and  wealth  and 
genius  had  arrayed  themselves,  and  competition  fled  from  him 
as  from  the  glance  of  destiny.  He  knew  no  motive  but  inter- 
est, acknowledged  no  criterion  but  success,  worshiped  no  God 
but  ambition,  and,  with  an  Eastern  devotion,  he  knelt  at 
the  shrine  of  his  idolatry. 

3.  Subsidiary  to  this  there  was  no  creed  that  he  did  not 
profess — there  was  no  opinion  that  he  did  not  promulgate. 
In  the  hope  of  a  dynasty  he  upheld  the  Crescent ;  for  the  sake 
of  a  divorce  he  bowed  before  the  Cross;  the  orphan  of  St. 
Louis,  he  became  the  adopted  child  of  the  Republic,  and  with 
a  parricidal  ingratitude,  on  the  ruins  both  of  the  throne  and 
tribune,  he  reared  the  throne  of  his  despotism.  A  professed 
Catholic,  he  imprisoned  the  pope;  a  pretended  patriot,  he 
impoverished  the  country;  and,  in  the  name  of  Brutus,  he 
grasped  without  remorse  and  wore  without  shame  the  diadem 
of  the  Caesars !  Through  this  pantomime  of  policy  fortune 
played  the  clown  to  his  caprices.  At  his  touch  crowns 
crumbled,  beggars  reigned,  systems  vanished,  the  wildest 
theories  took  the  color  of  his  whim,  and  all  that  was  venerable 
and  all  that  was  novel  changed  places  with  the  rapidity  of  a 
drama. 

4.  Even  apparent  defeat  assumed  the  appearance  of  victory; 
his  flight  from  Egypt  confirmed  his  destiny;  ruin  itself  only 
elevated  him  to  empire.  But  if  his  fortune  was  great,  his 
genius  was  transcendent.  Decision  flashed  upon  his  counsels, 
and  it  was  the  same  to  decide  and  to  perform.  To  inferior 
intellects  his  combinations  appeared  perfectly  impossible,  his 
plans  perfectly  impracticable  ;  but  in  his  hands  simplicity 
marked  their  development  and  success  vindicated  their  adop- 
tion. His  person  partook  the  character  of  his  mind;  if  the 
one  never  yielded  in  the  cabinet,  the  other  never  bent  in  the 
field.      Nature  had  no  obstacle  that  he  did  not  surmount, 


Oratorical  Style.  309 

space  no  opposition  that  he  did  not  spurn,  and,  whether  amid 
Alpine  rocks,  Arabian  sands,  or  Polar  snows,  he  seemed  proof 
against  peril,  and  empowered  with  ubiquity ! 

5.  The  whole  continent  trembled  at  beholding  the  audacity 
of  his  designs  and  the  miracle  of  their  execution.  Skepticism 
bowed  to  the  prodigies  of  his  performance ;  romance  assumed 
the  air  of  history;  nor  was  there  aught  too  incredible  for 
belief  or  too  fanciful  for  expectation  when  the  world  saw  a 
subaltern  of  Corsica  waving  his  imperial  flag  over  her  most 
ancient  capitals.  All  the  visions  of  antiquity  became  common- 
places in  his  contemplation.  Kings  were  his  people,  nations 
were  his  outposts,  and  he  disposed  of  courts  and  crowns  and 
camps  and  churches  and  cabinets  as  if  they  were  titular  digni- 
taries of  the  chess-board.  Amid  all  these  changes  he  stood 
immutable  as  adamant. 

6.  It  mattered  little  whether  in  the  field  or  in  the  drawing- 
room,  with  the  mob  or  the  levee,  wearing  the  Jacobin  bonnet 
or  the  iron  crown,  banishing  a  Braganza  or  espousing  a  Haps- 
burg,  dictating  peace  on  a  raft  to  the  Czar  of  Russia  or  con- 
templating defeat  at  the  gallows  of  Leipsic,  he  was  still  the 
same  military  despot. 

7.  In  this  wonderful  combination  his  affectation  of  litera- 
ture must  not  be  omitted.  The  jailer  of  the  press,  he 
affected  the  patronage  of  letters ;  the  proscriber  of  books,  he 
encouraged  philosophy;  the  persecutor  of  authors  and  the 
murderer  of  printers,  he  yet  pretended  to  the  protection  of 
learning.  Such  a  medley  of  contradictions,  and  at  the  same 
time  such  an  individual  consistency,  were  never  united  in  the 
same  character.  A  royalist,  a  republican,  and  an  emperor,  a 
Mohammedan,  a  Catholic,  and  a  patron  of  the  synagogue,  a 
subaltern  and  a  sovereign,  a  traitor  and  a  tyrant,  a  Christian 
and  an  infidel,  he  was,  through  all  his  vicissitudes,  the  same 
stern,  impatient,  inflexible  original,  the  same  mysterious,  in- 
comprehensible self—the  man  without  a  model  and  without  a 
shadow. 


310  Science  of  Elocution. 


Rienzi's  Address  to  the  Romans. 

MISS  MITFOBD. 

i.  Friends,  I  come  not  here  to  talk.     You  know  too  well 
The  story  of  our  thraldom.     We  are  slaves ! 
The  bright  sun  rises  to  his  course  and  lights 
A  race  of  slaves !     He  sets,  and  his  last  beams 
Fall  on  a  slave ;  not  such  as,  swept  along 
By  the  full  tide  of  power,  the  conqueror  led 
To  crimson  glory  and  undying  fame, 
But  base,  ignoble  slaves ;  slaves  to  a  horde 
Of  petty  tyrants,  feudal  despots,  lords, 
Rich  in  some  dozen  paltry  villages ; 
Strong  in  some  hundred  spearmen ;  only  great 
In  that  strange  spell — a  name. 

2.  Each  hour,  dark  fraud, 

Or  open  rapine,  or  protected  murder, 

Cries  out  against  them.     But  this  very  day 

An  honest  man,  my  neighbor — there  he  stands — 

Was  struck — struck  like  a  dog  by  one  who  wore 

The  badge  of  Ursini;  because,  forsooth, 

He  tossed  not  high  his  ready  cap  in  air, 

Nor  lifted  up  his  voice  in  servile  shouts 

At  sight  "of  that  great  ruffian !     Be  we  men, 

And  suffer  such  dishonor  ?     men,  and  wash  not 

The  stain  away  in  blood  ?     Such  shames  are  common, 

I  have  known  deeper  wrongs ;  I,  that  speak  to  ye. 

I  had  a  brother  once — a  gracious  boy, 

Full  of  gentleness,  of  calmest  hope, 

Of  sweet  and  quiet  joy;  there  was  the  look 

Of  heaven  upon  his  face,  which  limners  give 

To  the  beloved  disciple. 

3.  How  I  loved 
That  gracious  boy!     Younger  by  fifteen  years, 
Brother  at  once,  and  son!     He  left  my  side; — 
A  summer  bloom  on  his  fair  cheek,  a  smile 
Parting  his  innocent  lips.     In  one  short  hour 
That  pretty,  harmless  boy  was  slain !     I  saw 


Oratorical  Style.  311 

The  corse,  the  mangled  corse,  and  then  I  cried 
For  vengeance !     Rouse,  ye  Romans !  rouse,  ye  slaves ! 
Have  ye  brave  sons  ?    Look  in  the  next  fierce  brawl 
To  see  them  die.     Have  ye  fair  daughters  ?     Look 
To  see  them  live,  torn  from  your  arms,  distained, 
Dishonored ;  and  if  ye  dare  call  for  justice, 
Be  answered  by  the  lash ! 

4.  Yet  this  is  Rome, 

That  sat  on  her  seven  hills,  and  from  her  throne 
Of  beauty  ruled  the  world !     Yet  we  are  Romans! 
Why,  in  that  elder  day,  to  be  a  Roman 
Was  greater  than  a  king !  and  once  again — 
Hear  me,  ye  walls,  that  echoed  to  the  tread 
Of  either  Brutus !  once,  again,  I  swear 
The  eternal  city  shall  be  free ! 


Death  of  Alexander  Hamilton. 


1.  A  short  time  since  and  he  who  is  the  occasion  of  our 
sorrows  was  the  ornament  of  his  country.  He  stood  on  an 
eminence,  and  glory  covered  him.  From  that  eminence  he 
has  fallen — suddenly,  forever  fallen.  His  intercourse  with  the 
living  world  is  now  ended ;  and  those  who  would  hereafter 
find  him  must  seek  him  in  the  grave.  There,  cold  and  lifeless, 
is  the  heart  which  just  now  was  the  seat  of  friendship.  There, 
dim  and  sightless,  is  the  eye  whose  radiant  and  enlivening  orb 
beamed  with  intelligence ;  and  there,  closed  forever,  are  those 
lips  on  whose  persuasive  accents  we  have  so  often  and  so 
lately  hung  with  transport. 

2.  From  the  darkness  which  rests  upon  his  tomb  there  pro- 
ceeds, methinks,  a  light  in  which  it  is  clearly  seen  that  those 
gaudy  objects  which  men  pursue  are  only  phantoms.  In  this 
light  how  dimly  shines  the  splendor  of  victory — how  humble 
appears  the  majesty  of  grandeur !  The  bubble  which  seemed 
to  have  so  much  solidity  has  burst,  and  we  again  see  that  all 
below  the  sun  is  vanity. 

3.  True,  the  funeral  eulogy  has  been  pronounced;  the  sad 
and  solemn  procession  has  moved ;  the  badge  of  mourning  has 


312  Science  of  Elocution. 

already  been  decreed;  and  presently  the  sculptured  marble 
will  lift  up  its  front,  proud  to  perpetuate  the  name  of  Hamil- 
ton, and  rehearse  to  the  passing  traveler  his  virtues.  Just 
tributes  of  respect,  and  to  the  living  useful;  but  to  him, 
moldering  in  his  narrow  and  humble  habitation,  what  are 
they  ?     How  vain  !      How  unavailing  ! 

4.  Approach  and  behold,  while  I  lift  from  his  sepulcher  its 
covering.  Ye  admirers  of  his  greatness,  ye  emulous  of  his 
talents  and  his  fame,  approach  and  behold  him  now.  How 
pale !  how  silent !  No  martial  bands  admire  the  adroitness  of 
his  movements;  no  fascinated  throng  weep  and  melt  and 
tremble  at  his  eloquence.  Amazing  change !  a  shroud !  a  coffin ! 
a  narrow  subterraneous  cabin !  This  is  all  that  now  remains 
of  Hamilton.  And  is  this  all  that  remains  of  him  ?  During  a 
life  so  transitory,  what  lasting  monument,  then,  can  our 
fondest  hopes  erect  ?  My  brethren,  we  stand  on  the  borders 
of  an  awful  gulf  which  is  swallowing  up  all  things  human. 
And  is  there,  amid  this  universal  wreck,  nothing  stable,  noth- 
ing abiding,  nothing  immortal,  on  which  poor,  frail,  dying 
man  can  fasten  ? 

6.  Ask  the  hero,  ask  the  statesman,  whose  wisdom  you  have 
been  accustomed  to  revere,  and  he  will  tell  you.  He  will  tell  you, 
did  I  say  ?  He  has  already  told  you  from  his  death-bed,  and 
his  illumined  spirit  still  whispers  from  the  heavens,  with  well- 
known  eloquence,  the  solemn  admonition:  "  Mortals,  hasten- 
ing to  the  tomb,  and  once  the  companions  of  my  pilgrimage, 
take  warning  and  avoid  my  errors  ;  cultivate  the  virtues  I 
have  recommended ;  choose  the  Saviour  I  have  chosen.  Live 
disinterestedly — live  for  immortality.  And  would  you  rescue 
any  thing  from  final  dissolution,  lay  it  up  in  God." 


Sheridan  s  Ride. 

T.  BUCHANAN   BEAD. 

1.  Up  from  the  south  at  break  of  day, 
Bringing  to  "Winchester  fresh  dismay, 
The  affrighted  air  with  a  shudder  bore, 
Like  a  herald  in  haste,  to  the  chieftain's  door 


Impassioned  Poetic  Style.  313 

The  terrible  grumble,  and  rumble,  and  roar, 
Telling  the  battle  was  on  once  more, 
And  Sheridan  twenty  miles  away. 

2.  And  wilder  still  those  billows  of  war 
Thundered  along  the  horizon's  bar; 
And  louder  yet  into  Winchester  rolled 
The  roar  of  that  red  sea  uncontrolled, 
Making  the  blood  of  the  listener  cold, 

As  he  thought  of  the  stake  in  that  fiery  fray, 
And  Sheridan  twenty  miles  away. 

3.  But  there  is  a  road  from  Winchester  town, 
A  good,  broad  highway  leading  down : 

And  there  through  the  flush  of  the  morning  light, 

A  steed,  as  black  as  the  steeds  of  night, 

Was  seen  to  pass,  as  with  eagle  flight ; 

As  if  he  knew  the  terrible  need, 

He  stretched  away  with  his  utmost  speed  ; 

Hills  rose  and  fell ;  but  his  heart  was  gay, 

With  Sheridan  fifteen  miles  away. 

4.  Still  sprung  from  those  swift  hoofs,  thundering  south, 
The  dust,  like  smoke  from  the  cannon's  mouth; 

Or  the  trail  of  a  comet,  sweeping  faster  and  faster, 

Foreboding  to  traitors  the  doom  of  disaster. 

The  heart  of  the  steed,  and  the  heart  of  the  master 

Were  beating  like  prisoners  assaulting  their  walls, 

Impatient  to  be  where  the  battle-field  calls ; 

Every  nerve  of  the  charger  was  strained  to  full  play 

With  Sheridan  only  ten  miles  away, 

5.  Under  his  spurning  feet,  the  road 
Like  an  arrowy  Alpine  river  flowed, 
And  the  landscape  sped  away  behind 
Like  an  ocean  flying  before  the  wind, 

And  the  steed,  like  a  bark  fed  with  furnace  ire, 
Swept  on,  with  his  wild  eye  full  of  fire. 
But,  lo !  he  is  nearing  his  heart's  desire : 
He  is  snuffing  the  smoke  of  the  roaring  fray, 
With  Sheridan  only  five  miles  away. 


314  Science  of  Elocution. 

6.  The  first  that  the  general  saw  were  the  groups 
Of  stragglers,  and  then  the  retreating  troops ; 
What  was  done?  what  to  do?  a  glance  told  him  both, 
Then  striking  his  spurs,  with  a  terrible  oath, 

He  dashed  down  the  line,  'mid  a  storm  of  huzzas, 
And  the  wave  of  retreat  checked  its  course  there,  becau 
The  sight  of  the  master  compelled  it  to  pause. 
With  foam  and  with  dust  the  black  charger  was  gray ; 
By  the  flash  of  his  eye,  and  his  red  nostril's  play, 
He  seemed  to  the  whole  great  army  to  say, 
"I  have  brought  you  Sheridan  all  the  way 
From  Winchester,  down  to  save  the  day." 

7.  Hurrah !  hurrah  for  Sheridan ! 
Hurrah !  hurrah  for  horse  and  man ! 

And  when  their  statues  are  placed  on  high 

Under  the  dome  of  the  Union  sky, 

The  American  soldiers'  Temple  of  Fame, 

There  with  the  glorious  general's  name 

Let  it  be  said  in  letters  both  bold  and  bright : 

"  Here  is  the  steed  that  saved  the  day 

By  carrying  Sheridan  into  the  fight, 

Froi»  Winchester,  twenty  miles  away!" 


The  Charge  of  the  Light  Brigade. 

TENNYSON. 

1.  Half  a  league,  half  a  league, 

Half  a  league  onward, 
All  in  the  valley  of  death 

Rode  the  six  hundred. 
"Forward,  the  Light  Brigade!  " 
11  Charge  for  the  gnus,"  he  said, 
Into  the  valley  of  death 

Rode  the  six  hundred. 

2.  "Forward,  the  Light  Brigade!" 
Was  there  a  man  dismayed? 
Not  though  the  soldiers  knew 

Some  one  had  blundered, 


Dramatic  Style.  315 

Theirs  not  to  make  reply, 
Theirs  not  to  reason  why, 
Theirs  but  to  do  and  die. 
Into  the  valley  of  death 
Rode  the  six  hundred. 

3.  Cannon  to  right  of  them, 
Cannon  to  left  of  them. 
Cannon  in  front  of  them 
Volleyed  and  thundered ; 
Stormed  at  w  ith  shot  and  shell, 
Boldly  they  rode  and  well, 
Into  the  jaws  of  Death, 

Into  the  mouth  of  Hell 
Rode  the  six  hundred. 

4.  Flashed  all  their  sabers  bare, 
Flashed  as  they  turned  in  air, 
Sabering  the  gunners  there, 
Charging  an  army,  while 

All  the  world  wondered : 
Plunged  in  the  battery-smoke, 
Right  through  the  line  they  broke ; 
Cossack  and  Russian 
Reeled  from  the  saber-stroke 

Shattered  and  sundered. 
Then  they  rode  back,  but  not, 

Not  the  six  hundred. 

5.  Cannon  to  right  of  them, 
Cannon  to  left  of  them, 
Cannon  behind  them 

Volleyed  and  thundered ; 
Stormed  at  with  shot  and  shell, 
While  horse  and  hero  fell, 
They  who  had  fought  so  well 
Came  through  the  jaws  of  Death 
Back  from  the  mouth  of  Hell, 
All  that  was  left  of  them, 

Left  of  six  hundred. 


316  Science  of  Elocution. 

6.  When  can  their  glory  fade  ? 
O  the  wild  charge  they  made ! 

All  the  world  wondered. 
Honor  the  charge  they  made ! 
Honor  the  Light  Brigade, 

Noble  Six  Hundred! 


Gone  Before. 

B.    F.    TAYLOR. 

1.  There's  a  beautiful  face  in  the  silent  air, 

Which  follows  me  ever  and  near ; 
With  smiling  eyes  and  amber  hair, 
With  voiceless  lips,  yet  with  breath  of  prayer, 

That  I  feel  but  cannot  hear. 

2.  The  dimpled  hand  and  ringlet  of  gold 

Lie  low  in  a  marble  sleep : 
I  stretch  my  hand  for  a  clasp  of  old, 
But  the  empty  air  is  strangely  cold, 

And  my  vigil  alone  I  keep. 

3.  There's  a  sinless  brow  with  a  radiant  crown, 

And  a  cross  laid  down  in  the  dust ; 
There's  a  smile  where  never  a  shade  comes  now, 
And  tears  no  more  from  those  dear  eyes  flow, 

So  sweet  in  their  innocent  trust. 

4.  There's  a  beautiful  region  above  the  skies, 

And  I  long  to  reach  its  shore, 
For  I  know  I  shall  find  my  treasure  there, 
The  laughing  eyes  and  amber  hair, 

Of  the  loved  one  gone  before. 


Abou  Ben-Adhem. 

LEIGH    HUNT. 

Abou  Ben-Adhem  (may  his  tribe  increase!) 
Awoke  one  night  from  a  deep  dream  of  peace, 
And  saw,  within  the  moonlight  in  his  room, 
Making  it  rich,  and  like  a  lily  in  bloom, 
An  angel,  writing  in  a  book  of  gold. 
Exceeding  peace  had  made  Ben-Adhem  bold ; 


Dkamatic  Style.  317 

And  to  the  presence  in  the  room  he  said, 
"  What  writest  thou  ?  "    The  vision  raised  its  head, 
And,  with  a  look  made  all  of  sweet  accord, 
Answered,  "The  names  of  those  who  love  the  Lord." 
"And  is  mine  one  ?  "  said  Abou.     "Nay,  not  so," 
Replied  the  angel.    Abou  spake  more  low, 
But  cheerily  still,  and  said,   ' '  I  pray  thee,  then, 
Write  me  as  one  that  loves  his  fellow-men." 

2.  The  angel  wrote  and  vanished.     The  next  night 
It  came  again,  with  a  great  wakening  light, 
And  showed  the  names  whom  love  of  God  had  blessed, 
And  lo,  Ben-Adhem's  name  led  all  the  rest. 


Curfew  must  not  Ring  To-Night. 

ROSA    A.   HARTWIOK. 

1.  England's  sun  was  slowly  setting  o'er  the  hills  so  far 
away. 

Filling  all  the  land  with  beauty  at  the  close  of  one  sad  day ; 

And  the  last  rays  kissed  the  forehead  of  a  man  and  maiden 
fair, 

He  with  step  so  slow  and  weakened,  she  with  sunny,  float- 
ing hair ; 

He  with  sad,  bowed  head,  and  thoughtful ;  she  with  lips  so 
cold  and  white, 

Struggling  to  keep  back  the  murmur,  "  Curfew  must  not 
ring  to-night." 

2.   "  Sexton,"  Bessie's  white  lips  faltered,    pointing  to  the 

prison  old, 
With  its  walls  so  tall  and  gloomy — walls  so  dark  and 

damp  and  cold — 
I've  a  lover  in  that  prison,  doomed  this  very  night  to  die 
At  the  ringing  of  the  Curfew,  and  no  earthly  help  is  nigh. 
Cromwell  will  not  come  till  sunset,"    and  her  face  grew 

strangely  white, 
As  she  spoke  in  husky  whispers,    "Curfew  must  not  ring 

to-night." 


318  Science  of  Elocution. 

3.  "  Bessie,"  calmly  spoke  the  sexton — every  word  pierced 

her  young  heart 
Like  a  thousand  gleaming  arrows,   like  a  deadly  poisoned 

dart; 
"Long,  long  years  I've  rung  the  Curfew  from  that  gloomy 

shadowed  tower ; 
Every  evening,  just  at  sunset,   it  has  told  the  twilight 

hour; 
I  have  done  my  duty  ever,  tried  to  do  it  just,  and  right; 
Now  I'm  old,    I  will  not  miss  it;  girl,   the  Curfew  rings 

to-night!" 

4.  Wild  her  eyes  and  pale  her  features,  stern  and  white  her 

thoughtful  brow, 
And  within  her  heart's  deep  center,  Bessie  made  a  solemn 

vow; 
She  had  listened  while  the  judges  read,  without  a  tear  or 

sigh, 
"  At  the  ringing  of  the  Curfew  Basil  Underwood  must  die." 
And  her  breath  came  fast  and  faster,  and  her  eyes  grew 

large  and  bright — 
One  low  murmur,    scarcely  spoken — "Curfew  must  not 

ring  to-night ! " 

5.  She  with  light  step  bounded  forward,  sprang  within  the 

old  church  door. 
Left  the  old  man  coming  slowly  paths  he'd  trod  so  oft 

before ; 
Not  one  moment  paused  the  maiden,  but  with  cheek  and 

brow  aglow 
Staggered  up  the  gloomy  tower,  where  the  bell  swung  to 

and  fro : 
Then  she  climbed  the  slimy  ladder,  dark,  without  one  ray 

of  light, 
Upward   still,   her  pale  lips  saying:  "Curfew   shall  not 

ring  to-night." 

6.  She  has  reached  the  topmost  ladder;  o'er  her  hangs  the 

great  dark  bell ; 
And  the  awful  gloom  beneath  her,  like  the  pathway  down 
to  hell: 


Dramatic  Style.  319 

See,  the  ponderous  tongue  is  swinging;  tis  the  hour  of 
Curfew  now — 

And  the  sight  has  chilled  her  bossom,  stopped  her  breath, 
and  paled  her  brow. 

Shall  she  let  it  ring  ?  No,  never  I  her  eyes  flash  with  sud- 
den light, 

As  she  springs  and  grasps  it  firmly — "Curfew  shall  not 
ring  to-night." 

7.  Out  she  swung,   far  out,   the  city  seemed  a  tiny  speck 

below; 
There  'twixt  heaven  and   earth  suspended,    as  the  bell 

swung  to  and  fro ; 
And  the  half-deaf  sexton  ringing  (years  he  had  not  heard 

the  bell), 
And  he  thought  the  twilight  Curfew  rang  young  Basil's 

funeral  knell: 
Still  the  maiden  clinging  firmly,  cheek  and  brow  so  pale 

and  white, 
Still'd  her  frightened  heart's  wild  beating — "  Curfew  shall 

not  ring  to-night." 

B.  It  was  o'er — the  bell  ceased  swaying,    and  the   maiden 

stepped  once  more 
Firmly  on  the  damp  old  ladder,  where  for  hundred  years 

before 
Human  foot  had  not  been  planted;   and  what  she  this 

night  had  done 
Should  be  told  in  long  years  after — as  the  rays  of  setting 

sun 
Light  the  sky  with  mellow  beauty,  aged  sires,  with  heads 

of  white, 
Tell  their  children  why  the  Curfew  did  not  ring  that  one 

sad  night. 

9.  O'er  the  distant  hills  came  Cromwell ;  Bessie  saw  him,  and 
her  brow, 
Lately  white   with  sickening  terror,  glows  with  sudden 
beauty  now; 


320  Science  of  Elocution. 

At  his  feet  she  told  her  story,  showed  her  hands  all  bruised 

and  torn ; 
And  her  sweet  young  face,  so  haggard,  with  a  look  so  sad 

and  worn, 
Touched  his  heart  with  sudden  pity — lit  his  eyes  with 

misty  light ; 
"Go,  your  lover  lives  !"  cried  Cromwell;  "  Curfew  must 

not  ring  to-night." 

10.  Wide  they  flung  the  massive  portals,  led  the  prisoner  forth 
to  die, 

All  his  bright  young  life  before  him.  'Neath  the  dark- 
ening English  sky, 

Bessie  came  with  flying  footsteps,  eyes  aglow  with  love- 
light  sweet ; 

Kneeling  on  the  turf  beside  him,  laid  his  pardon  at  his 
feet. 

In  his  brave,  strong  arms  he  clasped  her,  kissed  the  face 
upturned  and  white, 

Whispered,  ''Darling,  you  have  saved  me  ;  Curfew  mus* 
not  ring  to-night." 


John  Burns  of  Gettysburg. 

F.    BRET  HARTE. 

1.  Have  you  neard  the  story  that  gossij>s  tell 
Of  Burns  of  Gettysburg  ?    No  ?    Ah,  well! 
Brief  is  the  glory  that  hero  earns, 
Briefer  the  story  of  poor  John  Burns : 
He  was  the  fellow  who  won  renown — 
The  only  man  who  didn't  back  down 
When  the  rebels  rode  through  his  native  town  r 
But  held  his  own  in  the  fight  next  day, 
When  all  his  townsfolk  ran  away. 
That  was  in  July,  sixty-  three, 
The  very  day  that  General  Lee, 
The  flower  of  Southern  chivalry, 
Baffled  and  beaten,  backward  reeled 
From  a  stubborn  Meade  and  a  barren  field. 


Dramatic  Style.  321 

I  might  tell  how,  but  the  day  before, 

John  Burn3  stood  at  his  cottage-door, 

Looking  down  the  village  street, 

Where  in  the  shade  of  his  peaceful  vine, 
He  heard  the  low  of  his  gathered  kine, 

And  felt  their  breath  with  incense  sweet ; 

Or,  I  might  say,  when  the  sunset  burned 

The  old  farm  gable,  he  thought  it  turned 

The  milk  that  fell  in  a  babbling  flood 

Into  the  "milk-pail,  red  as  blood ; 

Or,  how  he  fancied  the  hum  of  bees 

Were  bullets  buzzing  among  the  trees. 

But  all  such  fanciful  thoughts  as  these 

Were  strange  to  a  practical  man  like  Burns, 

Who  minded  only  his  own  concerns, 

Troubled  no  more  by  fancies  fine 

Than  one  of  his  calm-eyed,  long  tailed  kine— » 

Quite  old-fashioned  and  matter-of-fact, 

Slow  to  argue,  but  quick  to  act. 

That  was  the  reason,  as  some  folks  say, 

He  fought  so  well  on  that  terrible  day. 


3.  And  it  was  terrible.     On  the  right 
Raged  for  hours  the  heavy  fight, 
Thundered  the  battery's  double  bass — 
Difficult  music  for  men  to  face ; 
While  on  the  left — where  now  the  graves 
Undulate  like  the  living  waves 
That  all  the  day  unceasing  swept 
Up  to  the  pits  the  rebels  kept — 
Round  shot  plowed  the  upland  glades, 
Sown  with  bullets,  reaped  with  blades : 
Shattered  fences  here  and  there 
Tossed  their  splinters  in  the  air ; 
The  very  trees  were  stripped  and  bare ; 
The  barns  that  once  held  yellow  grain 
Were  heaped  with  harvests  of  the  slain ; 
The  cattle  bellowed  on  the  plain, 
The  turkeys  screamed  with  might  and  main. 
21 


322  Science  of  Elocution. 

And  brooding  barn-fowl  left  their  rest 
With  strange  shells  bursting  in  each  nest. 

4.  Just  where  the  fide  of  battle  turns, 
Erect  and  lonely  stood  old  John  Burns. 
How  do  you  think  the  man  was  dressed  ? 
He  wore  an  ancient,  long  buff  vest, 
Yellow  as  saffron,  but  his  best ; 
And  buttoned  over  his  manly  breast 
Was  a  bright  blue  coat  with  a  rolling  collar, 
And  large  gilt  buttons — size  of  a  dollar — 
With  tails  that  country  folk  called  "swaller.w 
He  wore  a  broad-brimmed  bell-crowned  hat, 
White  as  the  locks  on  which  it  sat. 
Never  had  such  a  sight  been  seen 
For  forty-years  on  the  village  green, 
Since  old  John  Burns  was  a  country  beau, 
And  went  to  the  "  quilting  "  long  ago. 

6.  Close  at  his  elbows  all  that  day 
Veterans  of  the  Peninsula, 
Sunburnt  and  bearded,  charged  away. 
And  striplings,  downy  of  lip  and  chin, 
Clerks  that  the  Home  Guard  mustered  in, 
Glanced  as  they  passed  at  the  hat  he  wore, 
Then  at  the  rifle  his  right  hand  bore ; 

And  hailed  him  from  out  their  youthful  lore, 

With  scraps  of  a  slangy  repertoire  : 

"  How  are  you,  White  Hat  ?  "  u  Put  her  through!  " 

"  Your  head's  level !  "  and,  "  Hurrah  for  you ! " 

Called  him  "  Daddy,"  and  begged  he'd  disclose 

The  name  of  the  tailor  who  made  his  clothes, 

And  what  was  the  value  he  set  on  those ; 

While  Burns,  unmindful  of  jeer  and  scoff, 

Stood  there  picking  the  rebels  off — 

With  his  long,  brown  rifle  and  bell-crown  hat, 

And  the  swallow-tails  they  were  laughing  at. 

7.  'Twas  but  a  moment,  for  that  respect 

Which  clothes  all  courage  their  voices  checked; 


Dramatic  Style.  323 

And  something  the  wildest  could  understand, 

Spake  in  the  old  man's  strong  right  hand, 

And  his  corded  throat,  and  the  lurking  frown 

Of  his  eyebrows  under  his  old  bell-crown, 

Until,  as  they  gazed,  there  crept  an  awe 

Through  the  ranks  in  whispers,  and  some  men  saw 

In  the  antique  vestments  and  long  white  hair, 

The  Past  of  the  Nation  in  battle  there. 

And  some  of  the  soldiers  since  declare 

That  the  gleam  of  his  old  white  hat  afar, 

Like  the  crested  plume  of  the  brave  Navarre, 

That  day  was  their  oriflamme  of  war. 

Thus  raged  the  battle.     You  know  the  rest, 

How  the  rebels  beaten,  and  backward  pressed, 

Broke  at  the  final  charge  and  ran. 

At  which  John  Burns,  a  practical  man, 

Shouldered  his  rifle,  unbent  his  brows, 

And  then  went  back  to  his  bees  and  cows. 

7.  That  is  the  story  of  old  John  Burns; 
And  this  is  the  moral  the  listener  learns; 
In  fighting  life's  battle  the  question's  whether 
You'll  show  a  hat  that's  white,  or  a  feather. 


Creeds  of  the  Bells. 

GEORGE  W.  BUNGAY. 

How  sweet  the  chime  of  Sabbath  bells! 
Each  one  its  creed  in  music  tells, 
In  tones  that  float  upon  the  air, 
As  soft  as  song,  and  pure  as  prayer ; 
And  I  will  put  in  simple  rhyme 
The  language  of  the  golden  chime. 
My  happy  heart  with  rapture  swells 
Responsive  to  the  bells — sweet  bells. 

"In  deeds  of  love  excel— excel," 
Chimed  out  from  ivied  towers  a  bell : 


324  Science  of  Elocution. 

"  This  is  the  church  not  built  ou  sands, 
Emblem  of  one  not  built  with  hands ; 
Its  forms  and  sacred  rites  revere ; 
Come  worship  here — come  worship  here ; 
Its  rituals  and  faith  excel — excel," 
Chimed  out  the  Episcopalian  bell. 

3.  "  O,  heed  the  ancient  landmarks  well," 
In  solemn  tones  exclaimed  a  bell ; 

"  No  progress  made  by  mortal  man 
Can  change  the  just,  eternal  plan. 
With  God  there  can  be  nothing  new; 
Ignore  the  false,  embrace  the  true ; 
While  all  is  well — is  well — is  well," 
Pealed  out  the  good  old  Dutch  Church  bell. 

4.  "  O  swell,  ye  purifying  waters,  swell," 
In  mellow  tones  rang  out  a  bell ; 

"  Though  faith  alone  in  Christ  can  save, 
Man  must  be  plunged  beneath  the  wave, 
To  show  the  world  unfaltering  faith 
In  what  the  sacred  Scripture  saith. 
O  swell,  ye  rising  waters,  swell," 
Pealed  out  the  clear-toned  Baptist  bell. 

5.  "  In  after  life  there  is  no  hell ! " 
In  raptures  rang  a  cheerful  bell ; 
"Look  up  to  heaven  this  holy  day, 
Where  angels  wait  to  lead  the  way ; 
There  are  no  fires,  no  fiends,  to  blight 
The  future  life ;  be  just,  do  right. 

No  hell !  no  hell !  no  hell !  no  hell ! " 
Rang  out  the  Universalist  bell. 

6.  "  Not  faith  alone,  but  works  as  well, 
Must  test  the  soul,"  said  a  soft  bell; 
"Come  here,  and  cast  aside  your  load, 
And  work  your  way  along  the  road, 
With  faith  in  God,  and  faith  in  man, 
And  hope  in  Christ,  where  hope  began : 
Do  well — do  well — do  well — do  well," 
Pealed  forth  the  Unitarian  bell. 


Dramatic  Style.  325 

7.  "Farewell!  farewell!  base  world,  farewell  I" 
In  touching  tones  exclaimed  a  bell ; 

"  Life  is  a  boon  to  mortals  given, 
To  fit  the  soul  for  bliss  in  heaven. 
Do  not  invoke  the  avenging  rod ; 
Come  here,  and  learn  the  way  to  God. 
Say  to  the  world  farewell!  farewell!" 
Pealed  out  the  Presbyterian  bell. 

8.  "  To  all  the  truth  we  tell— we  tell," 
Shouted  in  ecstasies  a  bell ; 

"  Come,  all  ye  weary  wanderers,  see! 
Our  Lord  has  made  salvation  free. 
Repent !  believe ;  have  faith !  and  then 
Be  saved,  and  praise  the  Lord.     Amen. 
Salvation's  free, we  tell — we  tell," 
Shouted  the  Methodistic  bell. 


The  Vagabonds. 

TROWBRIDGE. 

1.  We  are  two  travelers,  Roger  and  I. 

Roger's  my  dog.     Come  here,  you  scamp ! 
Jump  for  the  gentlemen — mind  your  eye ! 

Over  the  table — look  out  for  the  lamp ! 
The  rogue  is  growing  a  little  old ; 

Five  years  we've  tramped  through  wind  and  weather 
And  slept  out-doors  when  nights  were  cold, 

And  ate  and  drank — and  starved — together. 

2.  We've  learned  what  comfort  is,  I  tell  you! 

A  bed  on  the  floor,  a  bit  of  rosin. 
A  fire  to  thaw  our  thumbs  (poor  fellow ! 

The  paw  he  holds  up  there's  been  frozen), 
Plenty  of  catgut  for  my  fiddle 

(This  out- door  business  is  bad  for  strings), 
Then  a  few  nice  buckwheats  hot  from  the  griddle, 

And  Roger  and  I  set  up  for  kings ! 


326  Science  of  Elocution. 

3.  No,  thank  ye,  sir — I  never  drink ; 

Roger  and  I  are  exceedingly  moral — 
Aren't  we,  Roger?     See  him  wink ! 

Well,  something  hot,  then — we  wont  quarrel. 
He's  thirsty,  too — see  him  nod  his  head ! 

What  a  pity,  sir,  that  dogs  can't  talk ! 
He  understands  every  word  that's  said — 

And  he  knows  good  milk  from  water-and-chalk. 

4.  The  truth  is,  sir,  now  I  reflect, 

I've  been  so  sadly  given  to  grog, 
I  wonder  I've  not  lost  the  respect 

(Here's  to  you,  sir !)  even  of  my  dog. 
But  he  sticks  by,  through  thick  and  thin ; 

And  this  old  coat,  with  its  empty  pockets, 
And  rags  that  smell  of  tobacco  and  gin, 

He'll  follow  while  he  has  eyes  in  his  sockets. 

5.  There  isn't  another  creature  living 

Would  do  it,  and  prove,  through  every  disaster, 
So  fond,  so  faithful,  and  so  forgiving 

To  such  a  miserable,  thankless  master! 
No,  sir !  see  him  wag  his  tail  and  grin ! 

By  George!  it  makes  my  old  eyes  water! 
That  is,  there's  something  in  this  gin 

That  chokes  a  fellow.     But  no  matter ! 

6.  We'll  have  some  music  if  you're  willing, 

And  Roger  (hem !  what  a  plague  a  cough  is,  sir !) 
Shall  march  a  little.     Start,  you  villain ! 

Stand  straight !     'Bout  face !     Salute  your  officer ! 
Put  up  that  paw !     Dress !     Take  your  rifle ! 

(Some  dogs  have  arms,  you  see!)     Now  hold  your 
Cap  while  the  gentlemen  give  a  trifle 

To  aid  a  poor  old  patriot  soldier ! 

7.  March!     Halt!     Now  show  how  the  rebel  shakes 

When  he  stands  up  to  hear  his  sentence. 
Now  tell  us  how  many  drams  it  takes 
To  honor  a  jolly  new  acquaintance. 


Deamatic  Style.  32T 

Five  yelps— that's  five;  lie's  mighty  knowing! 

The  night's  before  us,  fill  the  glasses ! 
Quick,  sir!    I'm  ill— my  brain  is  going  I 

Some  brandy — thank  you — there — it  passes ! 

8.  Why  not  reform!     That's  easily  said; 

But  I've  gone  through  such  wretched  treatment, 
Sometimes  forgetting  the  taste  of  bread, 

And  scarce  remembering  what  meat  meant, 
That  my  poor  stomach's  past  reform; 

And  there  are  times  when,  mad  with  thinking, 
I'd  sell  out  heaven  for  something  warm 

To  prop  a  horrible  inward  sinking. 

9.  Is  there  a  way  to  forget  to  think? 

At  your  age,  sir,  home,  fortune,  friends, 
A  dear  girl's  love — but  I  took  to  drink ; 

The  same  old  story;  you  know  how  it  ends. 
If  you  could  have  seen  these  classic  features — 

You  needn't  laugh,  sir ;  they  were  not  then 
Such  a  burning  libel  on  God's  creatures : 

I  was  one  of  your  handsome  men ! 

10.  If  you  had  seen  her,  so  fair  and  young, 

Whose  head  was  happy  on  this  breast ! 
If  you  could  have  heard  the  songs  we  sung 

When  the  wine  went  round,  you  wouldn't  have  guessed 
That  ever  I,  sir,  should  be  straying 

From  door  to  door,  with  fiddle  and  dog, 
Ragged  and  penniless,  and  playing 

To  you  to-night  for  a  glass  of  grog ! 

11.  She's  married  since — a  parson's  wife: 

'Twas  better  for  her  that  we  should  part — 
Better  the  soberest,  prosiest  life 

Than  a  blasted  home  and  a  broken  heart. 
Have  I  seen  her?    Once :  I  was  weak  and  spent 

On  a  dusty  road :  a  carriage  stopped ; 
But  little  she  dreamed,  as  on  she  went, 

Who  kissed  the  coin  that  her  fingers  dropped ! 


328  Science  of  Elocution. 

12.  You've  set  me  talking,  sir ;  I'm  sorry ; 

It  makes  me  wild  to  think  of  the  change ! 
What  do  you  care  for  a  beggar's  story? 

Is  it  amusing?  you  find  it  strange? 
I  had  a  mother  so  proud  of  me ! 

'Twas  well  she  died  before —    Do  you  know 
If  the  happy  spirits  in  heaven  can  see 

The  ruin  and  wretchedness  here  below? 

13.  Another  glass,  and  strong,  to  deaden 

This  pain ;  then  Eoger  and  I  will  start. 
I  wonder,  has  he  such  a  lumpish,  leaden, 

Aching  thing,  in  place  of  a  heart  ? 
He  is  sad  sometimes,  and  would  weep,  if  he  could, 

No  doubt,  remembering  things  that  were — 
A  virtuous  kennel,  with  plenty  of  food, 

And  himself  a  sober,  respectable  cur. 

14.  I'm  better  now ;  that  glass  was  warming. 

You  rascal !  limber  your  lazy  feet ! 
We  must  be  fiddling  and  performing 

For  supper  and  bed,  or  starve  in  the  street — 
Not  a  very  gay  life  to  lead,  you  think? 

But  soon  we  shall  go  where  lodgings  are  free, 
And  the  sleepers  need  neither  victuals  nor  drink  ;— 

The  sooner,  the  better  for  Roger  and  me ! 


The  Bells. 

EDGAR     A.     POE. 

1.  Hear  the  sledges  with  the  bells — 
Silver  bells — 
What  a  world  of  merriment  their  melody  foretells! 
How  they  tinkle,  tinkle,  tinkle, 

In  the  icy  air  of  night ! 
While  the  stars  that  oversprinkle 
All  the  heavens  seem  to  twinkle 

With  a  crystalline  delight ; 
Keeping  time,  time,  time, 
In  a  sort  of  Runic  rhyme, 


Dramatic  Style.  329 

To  the  tintinnabulation  that  so  musically  swells 
From  the  bells,  bells,  bells,  bells, 
Bells,  bells,  bells — 
From  the  jingling  and  the  tinkling  of  the  bells. 

2.  Hear  the  mellow  wedding-bells, 

Golden  bells ! 
What  a  world  of  happiness  their  harmony  foretells 
Through  the  balmy  air  of  night 
How  they  ring  out  their  delight ! 
From  the  molten-golden  notes, 

And  all  in  tune, 
What  a  liquid  ditty  floats 
To  the  turtle  dove  that  listens  while  she  gloats 
On  the  moon ! 
O,  from  out  the  sounding  cells, 
What  a  gush  of  euphony  voluminously  wells ! 
How  it  swells ! 
How  it  dwells 
On  the  future !    how  it  tells 
Of  the  rapture  that  impels 
To  the  swinging  and  the  ringing 
Of  the  bells,  bells,  bells- 
Bells,  bells,  bells — 
To  the  rhyming  and  the  chiming  of  the  bells ! 

3.  Hear  the  loud  alarum  bells — 

Brazen  bells ! 
What  a  tale  of  terror,  now,  their  turbulency  tells ! 
In  the  startled  ear  of  night 
How  they  scream  out  their  affright ! 
Too  much  horrified  to  speak, 
They  can  only  shriek,  shriek, 
Out  of  tune. 
In  a  clamorous  appealing  to  the  mercy  of  the  fire, 
In  a  mad  expostulation  with  the  deaf  and  frantic  firt, 
Leaping  higher,  higher,  higher, 
With  a  desperate  desire, 
And  a  resolute  endeavor, 
Now — now  to  sit  or  never, 
By  the  side  of  the  pale-faced  moon. 


330  Science  of  Elocution. 

O  the  bells,  bells,  bells! 
What  a  tale  their  terror  tells 
Of  despair ! 
How  they  clang,  and  clash,  and  roar! 
What  a  horror  they  outpour 
On  the  bosom  of  the  palpitating  air ! 
Yet  the  ear  it  fully  knows, 
By  the  twanging 
And  the  clanging, 
How  the  danger  ebbs  and  flows: 
Yet  the  ear  distinctly  tells, 
In  the  jangling 
And  the  wrangling, 
How  the  danger  sinks  and  swells, 
By  the  sinking  or  the  swelling  in  the  anger  of  the  bells. 
Of  the  bells- 
Bells,  bells,  bells — 
In  the  clamor  and  the  clangor  of  the  bells  1 

4.  Hear  the  tolling  of  the  bells — 

Iron  bells! 
What  a  world  of  solemn  thought  their  monody  compels. 
In  the  silence  of  the  night, 
How  we  shiver  with  affright 
At  the  melancholy  menace  of  their  tone! 
For  every  sound  that  floats 
From  the  rust  within  their  throats 

Is  a  groan. 
And  the  people — ah,  the  people — 
They  that  dwell  up  in  the  steeple, 

All  alone, 
And  who  tolling,  tolling,  tolling, 

In  that  muffled  monotone, 
Feel  a  glory  in  so  rolling 

On  the  human  heart  a  stone — 
They  are  neither  man  nor  woman — 
They  are  neither  brute  nor  human— 

They  are  Ghouls : 
And  their  king  it  is  who  tolls ; 
And  he  rolls,  rolls,  rolls,  rolls, 


Dramatic  Style.  331 

A  psean  from  the  bells  ! 
And  his  merry  bossom  swells 

With  the  paean  of  the  bells ! 
And  he  dances  and  he  yells  ;♦ 
Keeping  time,  time,  time, 
In  a  sort  of  Hunic  rhyme, 
To  the  tolling  of  the  bells, 
Bells,  bells,  bells, 
To  the  moaning  and  the  groaning  of  the  bells. 


Charlie  Machree- 


WILLIAM  J.    HOPPIX. 


Come  over,  come  over  the  river  to  me, 

If  ye  are  my  laddie,  bold  Charlie  Machree! 

Here's  Mary  M'Pherson  and  Susy  O'Linn, 

Who  say  ye're  faint-hearted,  and  dare  not  plunge  in. 

But  the  dark  rolling  river,  though  deep  as  the  sea, 
I  know  cannot  scare  you,  nor  keep  you  from  me ; 

For  stout  is  your  back  and  strong  is  your  arm, 
And  the  heart  in  your  bosom  is  faithful  and  warm. 

Come  over,  come  over  the  river  to  me, 

If  ye  are  my  laddie,  bold  Charlie  Machree. 

I  see  him,  I  see  him.     He's  plunged  in  the  tide ; 
His  strong  arms  are  dashing  the  big  waves  aside. 

O !  the  dark  rolling  water  shoots  swift  as  the  sea, 
But  blithe  is  the  glance  of  his  bonnie  blue  e'e. 

His  cheeks  are  like  roses,  twa  buds  on  a  bough; 
Who  says  ye're  faint  hearted,  me  brave  laddie,  nowi 

Ho,  ho,  foaming  river,  ye  may  roar  as  ye  go, 
But  ye  canna  bear  Charlie  to  the  dark  loch  below! 

Come  over,  come  over  the  river  to  me, 

My  true-hearted  laddie,  my  Charlie  Machree ! 


832  *  Science  op  Elocution. 

He's  sinking,  he's  sinking — 0,  what  shall  I  do ! 
Strike  out,  Charlie,  boldly,  ten  strokes,  and  ye're  thro'. 

He's  sinking,  O  heaven!     Ne'er  fear,  man,  ne'er  fear; 
I've  a  kiss  for  ye,  Charlie,  as  soon  ar  ye're  here ! 

He  rises,  I  see  him — five  strokes,  C'arlie,  mair, — 
He's  shaking  the  wet  from  his  bon<  j  brown  hair; 

He  conquers  the  current,  he  gains  ^n  the  sea — 
Ho,  where  is  the  swimmer  like  Charlie  Machree ! 

Come  over  the  river,  but  once  come  to  me, 
And  I'll  love  ye  forever,  dear  Charlie  Machree. 

He's  sinking,  he's  gone — O  God,  it  is  I, 

It  is  I,  who  have  killed  him — help,  help ! — he  must  die. 

Help,  help ! — ah,  he  rises — strike  out  and  ye're  free, 
Ho,  bravely  done,  Charlie ;  once  more  now,  for  me ! 

Now  cling  to  the  rock,  now  give  me  your  hand — 
Ye're  safe,  dearest  Charlie,  ye're  safe  on  the  land ! 

Come  rest  on  my  bosom,  if  there  ye  can  sleep ; 
I  canna  speak  to  ye ;  I  only  can  weep. 

Ye've  crossed  the  wild  river,  ye've  risked  all  for  me, 
And  I'll  part  frae  ye  never,  dear  Charlie  Machree ! 


Count  Candespina's  Standard. 

GEORGE    H.    B0KER. 

"  The  King  of  Aragon  now  entered  Castile,  by  way  of  Soria  and  Osma,  witfc 
a  powerful  array ;  and,  having  been  met  by  the  queen's  forces,  both  parties 
encamped  near  Sepulveda,  and  prepared  to  give  battle. 

"  This  engagement,  called,  from  the  field  where  it  took  place,  de  la  Espina, 
is  one  of  the  most  famous  of  that  age.  The  dastardly  Count  of  Lara  fled  at 
the  first  shock,  and  joined  the  queen  at  Burgos,  where  she  was  anxiously 
awaiting  the  issue;  but  the  brave  Count  of  Candespina  (Gomez  Gonzalez) 
stood  his  ground  to  the  last,  and  died  on  the  field  of  battle.  His  standard- 
bearer,  a  gentleman  of  the  house  of  Olea,  after  having  his  horse  killed  under 
him,  and  both  hands  cut  off  by  saber  strokes,  fell  beside  his  master,  still 
clasping  the  standard  in  his  arms,  and  repeating  his  war-cry  of  l  Olea ! '  "— 
Annate  of  the  Queens  of  Spain. 


Dramatic  Style.  333 

1.  Scarce  were  the  splintered  lances  dropped, 

Scarce  were  the  swords  drawn  out, 
Ere  recreant  Lara,  sick  with  fear, 
Had  wheeled  his  steed  about ; 

2.  His  courser  reared  and  pluuged  and  neighed, 

Loathing  the  fight  to  yield ; 
But  the  coward  spurred  him  to  the  bone, 
And  drove  him  from  the  field. 

'  3.  Gonzalez  in  his  stirrups  rose : 

"  Turn,  turn,  thou  traitor  knight! 
Thou  bold  tongue  in  a  lady's  bower, 
Thou  dastard  in  a  fight !  " 

4.  But  vainly  valiant  Gomez  cried 

Across  the  waning  fray : 
Pale  Lara  and  his  craven  band 
To  Burgos  scoured  away. 

5.  "  Now,  by  the  God  above  me,  sirs, 

Better  we  all  were  dead, 
Than  a  single  knight  among  ye  all 
Should  ride  where  Lara  led ! 

6.  ' '  Yet  ye  who  fear  to  follow  me, 

As  yon  traitor  turn  and  fly ; 
For  I  lead  ye  not  to  win  a  field : 
I  lead  ye  forth  to  die. 

7.  "  Olea,  plant  my  standard  here — 

Here  on  this  little  mound ; 
Here  raise  the  war-cry  of  thy  house, 
Make  this  our  rallying  ground. 

8.  "  Forget  not,  as  thou  hop'st  for  grace 

The  last  care  I  shall  have 
Will  be  to  hear  thy  battle-cry, 
And  see  that  standard  wave." 

9.  Down  on  the  ranks  of  Aragon 

The  bold  Gonzalez  drove, 

And  Olea  raised  his  battle-cry, 

And  waved  the  flag  above. 


334  Science  of  Elocution. 

10.  Slowly  Gonzalez's  little  band 

Gave  ground  before  the  foe, 
But  not  an  inch  of  the  field  was  won 
"Without  a  deadly  blow ; 

11.  And  not  an  inch  of  the  field  was  won 

That  did  not  draw  a  tear 
From  the  widowed  wives  of  Aragon, 
That  fatal  news  to  hear. 

12.  Backward  and  backward  Gomez  fought, 

And  high  o'er  the  clashing  steel, 
Plainer  and  plainer  rose  the  cry, 
"  Olea  for  Castile !  " 

13.  Backward  fought  Gomez,  step  by  step, 

Till  the  cry  was  close  at  hand, 
Till  his  dauntless  standard  shadowed  him 
And  there  he  made  his  stand. 

14.  Mace,  sword,  and  ax  rang  on  his  mail, 

Yet  he  moved  not  where  he  stood, 
Though  each  gaping  joint  of  armor  ran 
A  stream  of  purple  blood. 

15.  As  pierced  with  countless  wounds  he  fell, 

The  standard  caught  his  eye, 
And  he  smiled,  like  an  infant  hushed  asleep, 
To  hear  the  battle-cry. 

16.  Now  one  by  one  the  wearied  knights 

Have  fallen,  or  basely  flown ; 
And  on  the  mound  where  his  post  was  fixed 
Olea  stood  alone. 

17.  "  Yield  up  thy  banner,  gallant  knight  1 

Thy  lord  lies  on  the  plain ; 

Thy  duty  has  been  nobly  done  ; 

I  would  not  see  thee  slain." 

18.  "  Spare  pity,  King  of  Aragon; 

I  would  not  hear  thee  lie : 
My  lord  is  looking  down  from  heaven 
To  see  his  standard  fly." 


Dramatic  Style.  335 

19.  "Yield,  madman,  yield!  thy  horse  is  down, 

Thou  hast  nor  lance  nor  shield ; 
Fly!— I  will  grant  thee  time."     "  This  flag 
Can  neither  fly  nor  yield !  " 

20.  They  girt  the  standard  round  about, 

A  wall  of  flashing  steel ; 
But  still  they  heard  the  battle-cry, 
"Oleafor  Castile!  " 

21.  And  there,  against  all  Aragon, 

Full  armed  with  lance  and  brand, 
Olea  fought  until  the  sword 
Snapped  in  his  sturdy  hand. 

22.  Among  the  foe,  with  that  high  scorn 

Which  laughs  at  earthly  fears, 
He  hurled  the  broken  hilt,  and  drew 
His  dagger  on  the  spears. 

23.  They  hewed  the  hauberk  from  his  breast, 

The  helmet  from  his  head ; 
They  hewed  the  hands  from  off  his  limbs, 
From  every  vein  ne  bled. 

24.  Clasping  the  standard  to  his  heart, 

He  raised  one  dying  peal, 
That  ran<>:  as  if  a  trumpet  blew — 
"Olea  for  Castile!" 


Bernardo  Del  Carpio. 

MRS.  HEMANS. 

1.  The  warrior  bowed  his  crested  bead,  and  tamed  his  heart 

of  fire, 
And  sued  the   haughty  king  to  free  his  long-imprisoned 

sire ; 
"I  bring  thee  here  my  fortress-keys,  I  bring  my  captive 

train ; 
I   pledge  thee  faith,  my  liege,  my  lord  !  —  O  break  my 

father's  chain ! " 


336  Science  of  Elocution. 

2.  "Rise,  rise!  even  now  thy  father  comes,  a  ransomed  man 

this  day ! 
Mount  thy  good  horse,  and  thou  and  I  will  meet  him.  on 

his  way." 
Then  lightly  rose  that  loyal  son,    and  bounded  on  his 

steed, 
And  urged  as  if  with  lance  in  rest,  the  charger's  foamy 


3.  And  lo !  from  far,  as  on  they  pressed,  there  came  a  glitter- 
ing band, 

With  one  that  'midst  them  stately  rode,  as  leader  in  the 
land! 

"Now  haste,  Bernardo,  haste!  for  there,  in  very  truth, 
is  he, 

The  father  whom  thy  faithful  heart  hath  yearned  so  long 
to  see." 

I.  His  dark  eye  flashed,  his  proud  breast  heaved,  his  cheek's 

hue  came  and  went ; 
He  reached  that  gray-haired  chieftain's  side,   and  there 

dismounting,  bent;     . 
A  lowly  knee  to  earth  he  bent,  his  father's  hand  he  took — 
What  was  there  in  its  touch  that  all  his  fiery  spirit  shook  ? 

5.  That  hand  was  cold — a  frozen  thing — it  dropped  from  his 

like  lead ! 
He  looked  up  to  the  face  above — the  face  was  of  the  dead? 
A  plume  waved  o'er  the  noble  brow — the  brow  was  fixed 

and  white ; 
He  met,  at  last,  his  father's  eyes — but  in  them  was  no  sight ! 

6.  Up  from  the  ground  he  sprang  and  gazed — but  who  could 

paint  that  gaze  ? 
They  hushed  their  very  hearts,  that  saw  its  horror  and 

amaze — 
They  might  have  chained  him,  as  before  that  stony  form 

he  stood; 
For  the  power  was  stricken  from  his  arm,  and  from  his  lip 

the  blood. 


Dramatic  Style.  337 

V.  "Father! "  at  last  he  murmured  low,  and  wept  like  child- 
hood then : 

Talk  not  of  grief  till  thou  hast  seen  the  tears  of  warlike 
men! 

He  thought  on  all  his  glorious  hopes,  and  all  his  young 
renown — 

He  flung  his  falchion  from  his  side,  and  in  the  dust  sat 
down. 

8.  Then    covering  with  his  steel-gloved  hands  his  darkly 

mournful  brow, 
"No   more,    there  is  no  more,"  he    said,    "to    lift  the 

sword  for  now ; 
My  king  is  false — my  hope  betrayed !    My  father ! — 0  the 

worth, 
The  glory,  and  the  loveliness  are  passed  away  from  earth ! 

9.  "I  thought  to    stand    where    banners  waved,   my  sire, 

beside  thee  yet ! 
I  would  that  there  our  kindred  blood  on  Spain's  free  soil 

had  met ! 
Thou  wouldst  have  known  my  spirit  then;    for  thee  my 

fields  were  won ; 
And  thou  hast  perished  in  thy  chains,  as  though  thou  hadst 

no  son! 

10.  Then,  starting  from  the  ground  once  more,  he  seized  the 

monarch's  rein, 

Amid  the  pale  and  wildered  looks  of  all  the  courtier  train ; 

And  with  a  fierce  o'ermastering  grasp,  the  rearing  war- 
horse  led, 

And  sternly  set  them  face  to  face — the  king  before  the 
dead. 

11.  "  Came  I  not  forth,  upon  thy  pledge,  my  father's  hand  to 

kiss  ? 
Be  still,  and  gaze  thou  on,  false  king !  and  tell  me,  what  is 

this? 
The  voice,  the  glance,  the  heart  I  sought — give  answer, 

where  are  they  ? 
If  thou  wouldst  clear  thy  perjured  soul,  send  life  through 

this  cold  clay ! 

22 


338  Science  of  Elocution. 

12.  "Into  these  glassy  eyes  put  light — be  still!  keep  down 

thine  ire! 
Bid  these  white  lips  a  blessing  speak — this  earth  is  not  my 

sire; 
Give  me  back  him  for  whom  I  strove,  for  whom  my  blood 

was  shed ! 
Thou  canst  not? — and  a  king! — his  dust  be  mountains  on 

thy  head!" 

13.  He  loosed  the  steed — his  slack  hand  fell ;  upon  the  silent 

face 
He  cast  one  long,  deep,  troubled  look,  then  turned  from 

that  sad  place  ; 
His  hope  was  crushed;  his  after  fate  untold    in  martial 

strain ; 
His  banner  led  the  spears  no  more  amid  the  hills  of  Spain. 


The    Raven. 

EDGAR  A.  rOE. 

1.  Once  upon  a  midnight  dreary,  while  I  pondered,  weak  and 

weary, 
Over  many  a  quaint  and  curious  volume  of  forgotten  lore — 
While  I  nodded,  nearly  napping,   suddenly  there  came  a 

tapping, 
As  of  some  one  gently  rapping,  rapping  at  my  chamber 

door. 
" 'Tis  some  visitor,"  I  muttered,  "tapping  at  my  chamber 

door — 

Only  this,  and  nothing  more." 

2.  Ah,  distinctly  I  remember,  it  was  in  the  bleak  December, 
And  each  separate  dying  ember  wrought  its  ghost  upon  the 

floor. 
Eagerly  I  wished  the  morrow:  vainly  I  had  sought  to 

borrow 
From  my  books  surcease  of  sorrow — sorrow  for  the  lost 

Lenore — 
For  the  rare  and  radiant  maiden  whom  the  angels  named 

Lenore— 

Nameless  here  for  evermore 


Dramatic  Style.  339 

3.  And  the  silken,  sad,  uncertain  rustling  of  each  purple  cur- 

tain, 
Thrilled  me — filled  me  with  fantastic  terrors  never  felt 

before ; 
So  that  now,  to  still  the  beating  of  my  heart,   I  stood 

repeating, 
"  'Tis  some   visitor  entreating  entrance  at  my  chamber 

door — 
Some  late  visitor  entreating  entrance  at  my  chamber  door : 
That  it  is,  and  nothing  more." 

4.  Presently  my  soul  grew  stronger :  hesitating  then  no  longer, 
"Sir,"    said    I,     "or  Madam,   truly  your    forgiveness  I 

implore ; 
But  the  fact  is,  I  was  napping,  and  so  gently  you  came 

rapping, 
And  so  faintly  you  came  tapping,   tapping  at  my  chamber 

door, 
That  I  scarce  was  sure  I  heard  you  " — here  I  opened  wide 

the  door : 

Darkness  there,  and  nothing  more. 

5.  Deep    into    that   darkness  peering,    long  I  stood  there, 

wondering,  fearing. 
Doubting,  dreaming  dreams  no  mortal  ever  dared  to  dream 

before ; 
But  the  silence  was  unbroken,  and  the  darkness  gave  no 

token, 
And  the  only  word  there  spoken  was  the  whispered  word 

"Lenore!  " 
This  I  whispered,  and  an  echo  murmured  back  the  word 

"Lenore!  " 

Merely  this,  and  nothing  more. 

6.  Back  into  the  chamber  turning,   all  my  soul  within  me 

burning, 

Soon  again  I  heard  a  tapping,  something  louder  than 
before. 

"Surely,"  said  I,  "surely  that  is  something  at  my  win- 
dow lattice; 


340  Science  of  Elocution. 

Let  me  see  then  what  thereat  is,  and  this  mystery  explore — 
Let    my    heart    be   still    a    moment,     and    this    mystery 
explore ; — 

'Tis  the  wind,  and  nothing  more." 

7.  Open  then  I  flung  the  shutter,  when,  with  many  a  flirt  and 

flutter, 
In  there  stepped  a  stately  raven  of  the  saintly  days  of  yore. 
Not  the  least  obeisance  made  he ;  not  an  instant  stopped 

or  stayed  he : 
But,  with  mien  of  lord  or  lady,  perched  above  my  chamber 

door — 
Perched  upon  a  bust  of  Pallas,  just  above  my  chamber 

door — 

Perched,  and  sat,  and  nothing  more. 

8.  Then  this  ebony  bird  beguiling  my  sad  fancy  into  smiling, 
By  the  grave  and   stern  decorum   of  the  countenance  it 

wore, 
"Though  thy  crest  be  shorn  and  shaven,  thou,"  I  said, 

1 '  art  sure  no  craven ; 
Ghastly,    grim,    and  ancient  raven,   wandering  from   the 

nightly  shore, 
Tell  me  what  thy  lordly  name  is  on  the  Night's  Plutonian 

shore." 

Quoth  the  raven,  "  Nevermore! " 

9.  Much  I  marveled  this  ungainly  fowl  to  hear  discourse  so 

plainly, 
Though  its  answer  little  meaning — little  relevancy  bore ; 
For  we  cannot  help  agreeing  that  no  living  human  being 
Ever  yet  was  blessed  with  seeing  bird  above  his  chamber 

door — 
Bird  or  beast  upon  the  sculptured  bust  above  his  chamber 

door 

With  such  name  as  "  Nevermore!  " 

10.  But  the  raven,  sitting  lonely  on  the  placid  bust,  spoke  only 
That  one  word,  as  if  his  soul  in  that  one  word  he  did  out- 
pour. 


Dramatic  Style.  341 

Nothing  further  then  he  uttered — not  a  feather  then  he 

fluttered — 
Till  I  scarcely  more  than  muttered,  "Other  friends  have 

flown  before — 
On  the  morrow  he  will  leave  me,  as  my  hopes  have  flown 

before. " 

Then  the  bird  said,  "  Nevermore  1  " 


11.  Startled  at  the  stillness,  broken  by  reply  so  aptly  spoken, 
"  Doubtless,"  said  I,  "  what  it  utters  is  its  only  stock  and 

store, 
Caught   from    some    unhappy  master,    whom  unmerciful 

disaster 
Followed  fast  and  followed  faster,  till  his  song  one  burden 

bore — 
Till  the  dirges  of  his  hope  that  melancholy  burden  bore, 
Of  ■  Never — nevermore !'  " 


12.  But  the  raven  still  beguiling  all  my  sad  soul  into  smiling, 
Straight  I  wheeled  a  cushioned  seat  in  front  of  bird  and 

bust  and  door, 
Then  upon  the  velvet  sinking,  I  took  myself  to  linking 
Fancy  unto  fancy,   thinking  what  this   ominous  bird  of 

yore— 
What  this  grim,  ungainly,  ghastly,   gaunt,   and  ominous 

bird  of  yore 

Meant  in  croaking  "Nevermore!  " 

13.  Thus  I  sat  engaged  in  guessing,  but  no  sj^llable  expressing 
To  the   fowTl,    whose    fiery    eyes  now  burned    into    my 

bosom's  core. 

This   and   more  I   sat  divining,    with   my  head  at  ease 
reclining 

On  the  cushion's  velvet  lining  that  the  lamp-light  gloated 
o'er, 

But  whose  velvet,  violet  lining,   with  the  lamp-light  gloat- 
ing o'er 

She  shall  press — ah !  nevermore ! 


34:2  Science  of  Elocution. 

14.  Then  methought  the  air  grew  denser,  perfumed  from  an 

unseen  censer 
Swung  by  seraphim,  whose  faint  foot-falls  tinkled  on  the 

tufted  floor. 
" Wretch!"  I  cried,   "thy  God  hath  lent  thee— by  these 

angels  he  hath  sent  thee 
Respite  —  respite    and  nepenthe  from    thy    memories  of 

Lenore  1 
Quaff,   O  quaff  this   kind  nepenthe,  and  forget  this   losi 

Lenore!  " 

Quoth  the  raven,  "Nevermore!" 

15.  "  Prophet!  "  said  I,  "  thing  of  evil !— prophet  still,  if  bird 

or  devil ! 
Whether  tempter  sent,  or  whether  tempest  tossed  thee  here 

ashore, 
Desolate,     yet    all     undaunted,     on     this     desert     land 

enchanted — 
On  this  home  by  Horror  haunted — tell  me  truly,  I  implore — 
Is  there — is  there  balm  in  Gilead  ? — tell  me — tell  me,    I 

implore ! " 

Quoth  the  raven,  "  Nevermore!  " 

16.  "Prophet!"  said  I,  "  thing  of  evil ! — prophet  still,  if  bird 

or  devil ! 
By  that  heaven  that  bends  above  us — by  that  God  we 

both  adore, 
Tell  this  soul  with  sorrow  laden,  if,   within  the  distant 

Aidenn, 
It  shall  clasp  a  sainted  maiden,  whom  the  angels  name 

Lenore ; 
Clasp  a  fair  and  radiant  maiden,   whom  the  angels   name 

Lenore ! " 

Quoth  the  raven,  "  Nevermore !  " 

17.  "Be  that  word  our  sign  of  parting,   bird   or  fiend!"  I 

shrieked  upstarting — 
"Get  thee  back  into  the  tempest  and  Night's  Plutonian 

shore ! 
Leave  no  black  plume  as  a  token  of  that  lie  thy  soul  hath 

spoken ! 


Dramatic  Style.  343 

Leave  my  loneliness  unbroken!— quit  the  bust  above  my 

door! 
Take  thy  beak  from  out  my  heart,  and  take  thy  form 

from  off  my  door !  " 

Quoth  the  raven,  ' '  Nevermore !  " 

.8.  And  the  raven,  never  flitting,  still  is  sitting,  still  is  sitting 
On  the  placid  bust  of  Pallas,  just  above  my  chamber  door; 
And  his  eyes  have  all  the  seeming  of  a  demon  that  is 

dreaming, 
And  the  lamp-light  o'er  him  streaming  throws  his  shadow 

on  the  floor ; 
And  my  soul  from  out  that  shadow  that  lies  floating  on 
the  floor, 

Shall  be  lifted — nevermore  ! 


Evening  at  the  Farm. 

J.  T.  TROWBRIDGE. 

1.  Over  the  hill  the  farm-boy  goes; 

His  shadow  lengthens  along  the  land, 
A  giant  staff  in  a  giant  hand ; 
In  the  poplar-tree,  above  the  spring, 
The  katy-did  begins  to  sing ; 

The  early  dews  are  falling ; 
Into  the  stone-heap  darts  the  mink : 
The  swallows  skim  the  rivers  brink ; 
And  home  to  the  woodland  fly  the  crows, 
When  over  the  hill  the  farm-boy  goes, 
Cheerily  calling, 

11  Co',  boss!  co',  boss!  co'!  co'!  co'!" 
Farther,  farther,  over  the  hill, 
Faintly  calling,  calling  still, 

"  Co',  boss!  co',  boss !  co'!  co'!  co'!' 

2.  Now  to  her  task  the  milkmaid  goes. 

The  cattle  come  crowding  through  the  gate, 
Lowing,  pushing,  little  and  great ; 
About  the  trough,  by  the  farm-yard  pump, 
The  frolicsome  yearlings  frisk  and  jump, 
While  the  pleasant  dews  are  falling; 


344  Science  of  Elocution. 

The  new  milch  heifer  is  quick  and  shy, 
But  the  old  cow  waits  with  tranquil  eye, 
And  the  white  stream  into  the  bright  pail  flows, 
When  to  her  task  the  milkmaid  goes, 

Soothingly  calling : 
"  So,  boss !  so,  boss !  so !  so !  so ! " 
The  cheerful  milkmaid  takes  her  stool, 
And  sits  and  milks  in  the  twilight  cool, 

Saying,  "So!  so,  boss!  so!  so!  " 

3.  To  supper  at  last  the  farmer  goes. 
The  apples  are  pared,  the  paper  read, 
The  stories  are  told,  then  all  to  bed. 
Without,  the  crickets'  ceaseless  song 
Makes  shrill  the  silence  all  night  long ; 

The  heavy  dews  are  falling. 
The  housewife's  hand  has  turned  the  lock; 
Drowsily  ticks  the  kitchen  clock ; 
The  household  sinks  to  deep  repose, 
But  still  in  sleep  the  farm-boy  goes, 

Singing,  calling — 
uCo',  boss!  co',  boss!  co'!  co'!  co'! " 
And  oft  the  milkmaid,  in  her  dreams, 
Drums  in  the  pail  with  the  flashing  streams, 
Murmuring,  "So,  boss!  so!" 


Pyramus  and  Thisbe. 

JOHN  G.  SAXE. 

1.  This  tragical  tale,  which  they  say  is  a  true  one, 
Is  old ;  but  the  manner  is  wholly  a  new  one. 
One  Ovid,  a  writer  of  some  reputation, 
Has  told  it  before  in  a  tedious  narration, 
In  a  style,  to  be  sure,  of  remarkable  fullness, 
But  which  nobody  reads  on  account  of  its  dullness. 
Young  Peter  Pyramus — I  call  him  Peter, 
Not  for  the  sake  of  the  rhyme  or  the  meter; 
But  merely  to  make  the  name  completer — 
For  Peter  lived  in  the  olden  times, 
And  in  one  of  the  worst  of  pagan  climes 


Humorous  Style.  345 

That  flourish  now  in  classical  fame, 
Long  before  either  noble  or  boor 
Had  such  a  thing  as  a  Christian  name. 
Young  Peter,  then,  was  a  nice  young  beau 
As  any  young  lady  would  wish  to  know ; 
In  years,  I  ween,  he  was  rather  green ; 
That  is  to  say,  he  was  just  eighteen — 
A  trifle  too  short,  a  shaving  too  lean, 
But  "  a  nice  young  man  "  as  ever  was  seen, 
And  fit  to  dance  with  a  May-day  queen ! 


2.  Now  Peter  loved  a  beautiful  girl 

As  ever  ensnared  the  heart  of  an  earl. 
In  the  magical  trap  of  an  auburn  curl — 
A  little  Miss  Thisbe,  who  lived  next  door. 
(They  dwelt,  in  fact,  on  the  very  same  floor 
With  a  wall  between  them  and  nothing  more — 
Those  double  dwellings  were  common  of  yore.) 
And  they  loved  each  other,  the  legends  say, 
In  that  very  beautiful,  bountiful  way, 
That  every  young  maid  and  every  young  blade 
Are  want  to  do  before  they  grow  staid, 
And  learn  to  love  by  the  laws  of  trade ; 
But  (alack-a-day,  for  the  girl  and  boy !) 
A  little  impediment  checked  their  joy, 
And  gave  them  awhile  the  deepest  annoy ; 
For  some  good  reason,  which  history  cloaks, 
The  match  didn't  happen  to  please  the  old  folks! 

3.  So  Thisbe's  father  and  Peter's  mother 
Began  the  young  couple  to  worry  and  bother, 
And  tried  their  innocent  passions  to  smother, 
By  keeping  the  lovers  from  seeing  each  other! 
But  who  ever  heard  of  a  marriage  deterred, 
Or  even  deferred, 

By  any  contrivance  so  very  absurd 
As  scolding  the  boy  and  caging  the  bird? 
Now  Peter,  who  wasn't  discouraged  at  all 
By  obstacles  such  as  the  timid  appal, 


346  Science  of  Elocution. 

Contrived  to  discover  a  hole  in  the  wall, 
Which  wasn't  so  thick  but  removing  a  brick 
Made  a  passage — though  rather  provokingly  small. 
Through  this  little  chink  the  lover  could  greet  her, 
And  secrecy  made  their  courting  the  sweeter, 
While  Peter  kissed  Thisbe,  and  Thisbe  kissed  Peter— 
For  kisses,  like  folks  with  diminutive  souls, 
Will  manage  to  creep  through  the  smallest  of  holes! 

4.  'Twas  here  that  the  lovers,  intent  upon  love, 
Made  a  nice  little  plot  to  meet  at  a  spot 
Near  a  mulberry- tree  in  a  neighboring  grove; 
For  the  plan  was  all  laid  by  the  youth  and  the  maid, 
Whose  hearts,  it  would  seem,  were  uncommonly  bold  ones, 
To  run  off  and  get  married  in  spite  of  the  old  ones. 
In  the  shadows  of  evening,  as  still  as  a  mouse, 
The  beautiful  maiden  slipped  out  of  the  house, 
The  mulberry-tree  impatient  to  find ; 
While  Peter,  the  vigilant  matrons  to  blind, 
Strolled  leisurely  out,  some  minutes  behind. 
While  waiting  alone  by  the  trysting  tree, 
A  terrible  lion  as  e'er  you  set  eye  on, 
Came  roaring  along  quite  horrid  to  see, 
And  caused  the  young  maiden  in  terror  to  flee 
(A  lion's  a  creature  whose  regular  trade  is 
Blood — and  ua  terrible  thing  among  ladies"), 
And  losing  her  veil  as  she  ran  from  the  wood, 
The  monster  bedabbled  it  over  with  blood. 


&  Now  Peter  arriving,  and  seeing  the  veil 
All  covered  o'er  and  reeking  with  gore, 
Turned,  all  of  a  sudden,  exceedingly  pale, 
And  sat  himself  down  to  weep  and  to  wail — 
For,  soon  as  he  saw  the  garment,  poor  Peter 
Made  up  his  mind  in  very  short  meter 
That  Thisbe  was  dead,  and  the  lion  had  eat  her! 
So  breathing  a  prayer,  he  determined  to  share 
The  fate  of  his  darling,  "the  loved  and  the  lost," 
And  fell  on  his  dagger,  and  gave  up  the  ghost ! 


Humorous  Style.  347 

Now  Thisbe  returning,  and  viewing  her  beau, 
Lying  dead  by  her  veil  (which  she  happened  to  know), 
She  guessed  in  a  moment  the  cause  of  his  erring ; 
And,  seizing  the  knife  that  had  taken  his  life, 
In  less  than  a  jiffy  was  dead  as  a  herring. 

MORAL. 

Young  gentlemen ! — pray  recollect,  if  you  please, 
Not  to  make  your  appointments  near  mulberry-trees. 
Should  your  mistress  be  missing,  it  shows  a  weak  head 
To  be  stabbing  yourself  till  you  know  she  is  dead. 
Young  ladies ! — you  shouldn't  go  strolling  about 
When  your  anxious  mammas  don't  know  you  are  out ; 
And  remember  that  accidents  often  befall 
From  kissing  young  fellows  through  holes  in  the  wall ! 


Mr.  Pickwick's  Proposal  to  Mrs.  Bardell. 

DICKENS. 

It  was  evident  that  something  of  great  importance  was  in 
contemplation ;  but  what  that  something  was,  not  even  Mrs. 
Bardell  herself  had  been  enabled  to  discover. 

4 'Mrs.  Bardell,"  said  Mr.  Pickwick,  at  last,  as  that  amiable 
female  approached  the  termination  of  a  prolonged  dusting  of 
the  apartment. 

"Sir,"  said  Mrs.  Bardell. 

"Your  little  boy  is  a  very  long  time  gone." 

"Why,  it  is  a  good  loDg  way  to  the  Borough,  sir,"  remon- 
strated Mrs.  Bardell . 

"Ah,"  said  Mr.  Pickwick,  "very  true;  so  it  is." 

Mr.  Pickwick  relapsed  into  silence,  and  Mrs.  Bardell  re- 
sumed her  dusting. 

"Mrs.  Bardell, "  said  Mr.  Pickwick,  at  the  expiration  of  a  few 
tninutes. 

"Sir,"  said  Mrs.  Bardell  again. 

' '  Do  you  think  it's  a  much  greater  expense  to  keep  two  peo- 
ple than  to  keep  one?" 

"La,  Mr.  Pickwick,"  said  Mrs.  Bardell,  coloring  up  to  the 
very  border  of  her  cap,  as  she  fancied  she  observed  a  species  of 


348  Science  of  Elocution. 

matrimonial  twinkle  in  the  eyes  of  her  lodger;  "  La,  Mr.  Pick- 
wick, what  a  question !  " 

"Well,  but  do  you?"  inquired  Mr.  Pickwick. 

"That  depends" — said  Mrs.  Bardell,  approaching  the  duster 
very  near  to  Mr.  Pickwick's  elbow,  which  was  planted  on  the 
table ;  "that  depends  a  good  deal  upon  the  person,  you  knowr, 
Mr.  Pickwick;  and  whether  it's  a  saving  and  careful  per- 
son, sir." 

"That's  very  true,"  said  Mr.  Pickwick;  "but  the  person  I 
have  in  my  eye  (here  he  looked  very  hard  at  Mrs.  Bardell)  I 
think  possesses  these  qualities,  and  has,  moreover,  a  consider- 
able knowledge  of  the  world,  and  a  great  deal  of  sharpness, 
Mrs.  Bardell,  which  may  be  of  material  use  to  me." 

"La,  Mr.  Pickwick,"  said  Mrs.  Bardell,  the  crimson  rising 
to  her  cap-border  again. 

"I  do,"  said  Mr.  Pickwick,  growing  energetic,  as  was  his 
wont  in  speaking  of  a  subject  which  interested  him;  "I  do, 
indeed ;  and  to  tell  you  the  truth,  Mrs.  Bardell,  I  have  made 
up  my  mind." 

"Dear  me,  sir!"  exclaimed  Mrs.  Bardell. 

"You'll  think  it  not  very  strange  now,"  said  the  amiable 
Mr.  Pickwick,  with  a  good-humored  glance  at  his  companion, 
4 '  that  I  never  consulted  you  about  this  matter,  and  never  men- 
tioned it  till  I  sent  your  little  boy  out  this  morning — eh? " 

Mrs.  Bardell  could  only  reply  by  a  look.  She  had  long 
worshiped  Mr.  Pickwick  at  a  distance,  but  here,  she  was  all  at 
once,  raised  to  a  pinnacle  to  which  her  wildest  and  most  ex- 
travagant hopes  had  never  dared  to  aspire.  Mr.  Pickwick  was 
going  to  propose — a  deliberate  plan,  too — sent  her  little  boy 
to  the  Borough  to  get  him  out  of  the  way — how  thoughtful — 
how  considerate ! 

"  Well,"  said  Mr.  Pickwick,  "what  do  you  think? " 

"O,  Mr.  Pickwick,"  said  Mrs.  Bardell,  trembling  with  agi- 
tation, "you're  very  kind,  sir." 

"It'll  save  you  a  good  deal  of  trouble,  wont  it?"  said  Mr. 
Pickwick. 

"O,  I  never  thought  any  thing  of  the  trouble,  sir,"  replied 
Mrs.  Bardell;  "and  of  course,  I  should  take  more  trouble  to 
please  you  then  than  ever ;  but  it  is  so  kind  of  you,  Mr.  Pick- 
wick, to  have  so  much  consideration  for  my  loneliness." 


Humorous  Style.  349 

"Ah,  to  be  sure,"  said  Mr.  Pickwick;  "I  never  thought  of 
that.  When  I  am  in  town  you'll  always  have  somebody  to  sit 
with  you.     To  be  sure,  so  you  will." 

"I'm  sure  I  ought  to  be  a  very  happy  woman,"  said  Mrs. 
Bardell. 

"And  your  little  boy — "  said  Mr.  Pickwick. 

"Bless  his  heart,"  interposed  Mrs.  Bardell,  with  a  maternal 
sob. 

"He,  too,  will  have  a  companion,"  resumed  Mr.  Pickwick, 
"a  lively  one,  who'll  teach  him,  I'll  be  bound,  more  tricks  in 
a  week  than  he  would  ever  learn  in  a  year."  And  Mr.  Pick- 
wick smiled  placidly. 

"O  you  dear!"  said  Mrs.  Bardell. 

Mr.  Pickwick  started. 

"O  you  kind,  good,  playful  dear,"  said  Mrs.  Bardell;  and 
without  more  ado,  she  rose  from  her  chair  and  flung  her  arms 
around  Mr.  Pickwick's  neck,  with  a  cataract  of  tears  and  a 
chorus  of  sobs. 

"Bless  my  soul!",  cried  the  astonished  Mr.  Pickwick; 
"  Mrs.  Bardell,  my  good  woman  —  dear  me,  what  a  situa- 
tion— pray  consider,  Mrs.  Bardell,  don't — if  any  body  should 
come — " 

"O  let  them  come!"  exclaimed  Mrs.  Bardell,  frantically; 
"I'll  never  leave  you— y-dear,  kind,  good  soul;"  and  with  these 
words  Mrs.  Bardell  clung  the  tighter. 


The  Bobolink. 

ALDINE. 

1.  Once,  on  a  golden  afternoon, 

With  radiant  faces  and  hearts  in  tune, 

Two  fond  lovers,  in  dreaming  mood, 

Threaded  a  rural  solitude. 
Wholly  happy,  they  only  knew 
That  the  earth  was  bright  and  the  sky  was  blue, 

That  light  and  beauty  and  joy  and  song 

Charmed  the  way  as  they  passed  along : 
The  air  was  fragrant  with  woodland  scents ; 
The  squirrel  fiisked  on  the  roadside  fence  \ 


350  Science  of  Elocution. 

And  hovering  near  them,  "  Chee,  chee,  chink?  " 
Queried  the  curious  bobolink, 
Pausing  and  peering  with  sidelong  head, 
As  saucily  questioning  all  they  said ; 
While  the  ox-eye  danced  on  its  slender  stem, 
And  all  glad  nature  rejoiced  with  them. 
Over  the  odorous  fields  were  strewn 
Wilting  windrows  of  grass  new  mown, 
And  rosy  billows  of  clover  bloom 
Surged  in  the  sunshine  and  breathed  perfume. 
Swinging  low  on  a  slender  limb, 
The  sparrow  warbled  his  wedding  hymn, 
And  balancing  on  a  blackberry  brier, 
The  bobolink  sung  with  his  heart  on  fire, — 
Chee,  chee  chink ! 
"If  you  wish  to  kiss  her,  do! 
Do  it,  do  it !     You  coward,  you ! 

Kiss  her !  kiss  her,  kiss  her !     Who  will  see  ? 
Only  we  three !  we  three  1  we  three  I  " 

2.  Past  wide  meadow-fields,  lately  mowed, 

Wandered  the  indolent  country  road. 
The  lovers  followed  it,  listening  still, 
And  loitering  slowly,  as  lovers  will, 
Entered  a  gray-roofed  bridge  that  lay 
Dusk  and  cool,  in  their  pleasant  way. 
Under  its  arch  a  smooth,  brown  stream, 
Silently  glided  with  glint  and  gleam, 
Shaded  by  graceful  elms  which  spread 
Their  verdurous  canopy  overhead — 
The  stream  so  narrow,  the  bough  so  wide, 
They  met  and  mingled  across  the  tide. 
Alders  loved  it,  and  seemed  to  keep 
Patient  watch  as  it  lay  asleep, 
Mirroring  clearly  the  trees  and  sky, 
And  the  flitting  form  of  the  dragon-fly, 

Save  where  the  swift-winged  swallow  played 
In  and  out  in  the  sun  and  shade, 
And  darting  and  circling  in  merry  chase, 
Dipped  and  dimpled  its  clear,  dark  face. 


Dramatic  Style.  351 

Fluttering  lightly  from  brink  to  brink, 
Followed  the  garrulous  bobolink, 

2.  Rallying  loudly  with  mirthful  din, 
The  pair  who  lingered  unseen  within. 

And  when  from  the  friendly  bridge  at  last 

Into  the  road  beyond  they  passed, 
Again  beside  them  the  tempter  went, 
Keeping  the  thread  of  his  argument — 

"Kiss  her!  kiss  her!  chink-a-chee-chee ! 

I'll  not  mention  it !     Don't  mind  me ! 
I'll  be  sentinel — I  can  see 
All  around  from  this  tall  birch  tree !  " 

But  ah !  they  noted — nor  deemed  it  strange — 

In  his  rollicking  chorus  a  trifling  change, — 
u  Do  it !  do  it !  " — with  might  and  main 
Warbled  the  tell-tale— " Do  it  again! " 


Pictures  of  Memory. 

ALICE  CABY. 

Among  the  beautiful  pictures 

That  hang  on  Memory's  wall, 
Is  one  of  a  dim  old  forest, 

That  seemeth  best  of  all. 
Not  for  its  gnarled  oaks  olden, 

Dark  with  the  mistletoe ; 
Not  for  the  violets  golden 

That  sprinkle  the  vale  below; 
Not  for  the  milk-white  lilies 

That  lean  from  the  fragrant  ledge, 
Coquetting  all  day  with  the  sunbeams, 

And  stealing  their  golden  edge ; 
Not  for  the  vines  on  the  upland 

Where  the  bright  red  berries  rest, 
Nor  the  pinks,  nor  the  pale,  sweet  cowslip, 

It  seemeth  to  me  the  best. 


352  Science  of  Elocution. 

2.  I  once  had  a  little  brother 

With  eyes  that  were  dark  and  deep; 
In  the  lap  of  that  dim  old  forest, 

He  lieth  in  peace  asleep. 
Light  as  the  down  of  the  thistle, 

Free  as  the  winds  that  blow, 
We  roved  there,  the  beautiful  summers, 

The  summers  of  long  ago ; 
But  his  feet  on  the  hills  grew  weary, 

And,  one  of  the  autumn  eves, 
I  made  for  my  little  brother 

A  bed  of  the  yellow  leaves. 

3.  Sweetly  his  pale  arms  folded 

My  neck  in  a  meek  embrace, 
As  the  light  of  immortal  beauty 

Silently  covered  his  face ; 
And  when  the  arrows  of  sunset 

Lodged  in  the  tree-tops  bright, 
He  fell,  in  his  saint-like  beauty, 

Asleep  by  the  gates  of  light. 

4.  Therefore,  of  all  the  pictures 

That  hang  on  Memory's  wall, 
The  one  of  the  dim  old  forest 
Seemeth  the  best  of  all. 


Sandalphon. 

H.  W.  LONGFELLOW. 

1.  Have  you  read  in  the  Talmud  of  old, 
In  the  Legends  the  Rabbins  have  told 

Of  the  limitless  realms  of  the  air, 
Have  you  read  it, — the  marvelous  story 
Of  Sandalphon,  the  Angel  of  Glory, 

Sandalphon,  the  Angel  of  Prayer  ? 

2.  How,  erect,  at  the  outermost  gates 
Of  the  City  Celestial  he  waits, 


Oratorical  Style.  353 

With  his  feet  on  the  ladder  of  light, 
That,  crowded  with  angels  unnumbered, 
By  Jacob  was  seen,  as  he  slumbered 

Alone  in  the  desert  at  night  ? 

3.  The  Angels  of  Wind  and  of  Fire 
Chant  only  one  hymn,  and  expire 

With  the  song's  irresistible  stress ; 
Expire  in  their  rapture  and  wonder, 
As  harp -strings  are  broken  asunder 

By  music  they  throb  to  express. 

4.  But,  serene  in  the  rapturous  throng, 
Unmoved  by  the  rush  of  the  song, 

With  eyes  unimpassioned  and  slow, 
Among  the  dead  angels,  the  deathless 
Sandalphon  stands  listening,  breathless, 

To  sounds  that  ascend  from  below ; — 

5.  From  the  spirits  on  Earth  that  adore, 
From  the  souls  that  entreat  and  implore 

In  the  fervor  and  passion  of  prayer ; 
From  the  hearts  that  are  broken  with  losses, 
And  weary  with  dragging  the  crosses 

Too  heavy  for  mortals  to  bear. 

tf .  And  he  gathers  the  prayers  as  he  stands, 
And  they  change  into  flowers  in  his  hands, 

Into  garlands  of  purple  and  red ; 
And  beneath  the  great  arch  of  the  portal, 
Through  the  streets  of  the  City  Immortal 

Is  wafted  the  fragrance  they  shed. 

7.  It  is  but  a  legend,  I  know, — 
A  fable,  a  phantom,  a  show, 

Of  the  ancient  Rabbinical  lore : 
Yet  the  old  mediaeval  tradition, 
The  beautiful,  strange  superstition, 

But  haunts  me  and  holds  me  the  more. 


23 


354  Science  of  Elocution. 

8.  When  I  look  from  my  window  at  night, 
And  the  welkin  above  is  all  white, 

All  throbbing  and  panting  with  stars, 
Among  them  majestic  is  standing 
Sandalphon  the  angel,  expanding 

His  pinions  in  nebulous  bars. 

9.  And  the  legend,  I  feel,  is  a  part 

Of  the  hunger  and  thirst  of  the  heart, 

The  frenzy  and  fire  of  the  brain, 
That  grasps  at  the  fruitage  forbidden, 
The  golden  pomegranates  of  Eden, 
To  quiet  its  fever  and  pain. 


The  Blacksmith's  Story. 

FRANK  OLIVE. 

1.  Well,  no!     My  wife  aint  dead,   sir,  but  I've  lost  her  all 

the  same ; 
She  left  me  voluntarily,  and  neither  was  to  blame. 
It's  rather  a  queer  story,  and  I  think  you  will  agree — 
When  you  hear  the  circumstances — 'twas  rather  rough  on 

me. 

2.  She  was  a  soldier's  widow.    He  was  killed  at  Malvern  Hill ; 
And  when  I  married  her  she  seemed  to  sorrow  for  him  still; 
But  I  brought  her  here  to  Kansas,  and  I  never  want  to  see 
A  better  wife  than  Mary  was  for  five  bright  years  to  me. 

3.  The  change  of  scene  brought  cheerfulness,  and  soon  a  rosy 

glow 
Of  happiness  warmed  Mary's  cheeks  and  melted  all  their 

snow. 
I  think  she  loved  me  some, — I'm  bound  to  think  that  of 

her,  sir; 
And  as  for  me, — I  can't  begin  to  tell  how  I  loved  her! 

4.  Three  years  ago  the  baby  came  our  humble  home  to  bless; 
And  then  I  reckon  I  was  nigh  to  perfect  happiness ; 


Deamatio  Style.  355 

'Twas  hers, — 'twas  mine ;  but  I've  no  language  to  explain 

to  you, 
How  that  little  girl's  weak  fingers  our  hearts  together 

drew! 

5.  Once  we  watched  it  through  a  fever,  and  with  each  gasp- 

ing breath, 
Dumb  with  an  awful,  wordless  woe,  we  waited  for  its 

death; 
And,  though  I'm  not  a  pious  man,  our  souls  together  there, 
For  Heaven  to  spare  our  darling,  went  up  in  voiceless 

prayer. 

6.  And,  when  the  doctor  said  'twould  live,  our  joy  what 

words  could  tell? 
Clasped  in  each  other's  arms,  our  grateful  tears  together 

fell. 
Sometimes,  you  see,  the  shadow  fell  across  our  little  nest, 
But  it  only  made  the  sunshine  seem  a  doubly  welcome 

guest. 

7.  Work  came  to  me  a  plenty,  and  I  kept  the  anvil  ringing ; 
Early  and  late  you'd  find  me  there  a-hammering  and  sing- 
ing; 

Love  nerved  my  arm  to  labor,  and  moved  my  tongue  to 

song, 
And,  though  my  singing  wasn't  sweet,  it  was  tremendous 

strong ! 

8.  One  day  a  one-armed  stranger  stopped  to  have  me  nail  a 

shoe, 
And,  while  I  was  at  work,  we  passed  a  compliment  or  two; 
I  asked  him  how  he  lost  his  arm.    He  said  'twas  shot  away 
At  Malvern  Hill.     "Malvern  Hill !     Did  you  know  Robert 

May?" 

9.  "That's  me,"  said  he.     "You,  you!"  I  gasped,  choking 

with  horrid  doubt ; 
"  If  you're  the  man,  just  follow  me;  we'll  try  this  mystery 
out!" 


356  Science  of  Elocution. 

With  dizzy  steps,  I  led  him  in  to  Mary.     God!    'Twas 

true ! 
Then  the  bitterest  pangs  of  misery,  unspeakable,  I  knew. 

10.  Frozen  with  deadly  horror,  she  stared  with  eyes  of  stone, 
And  from  her  quivering  lips  there  broke  one  wild,  de- 
spairing moan. 

'Twas  he  I  the  husband  of  her  youth,  now  risen  from  the 

dead, 
But  all  too  late ;  and,  with  bitter  cry,  her  senses  fled. 

11.  "What  could  be  done  ?    He  was  reported  dead.    On  his  re- 

turn 
He  strove  in  vain  some  tidings  of  his  absent  wife  to  learn. 
'Twas  well  that  he  was  innocent!     Else  I'd  have  killed 

him,  too, 
So  dead  he  never  would  have  riz  till  Gabriel's  trumpet 

blew! 

12.  It  was  agreed  that  Mary  then  between  us  should  decide, 
And  each  by  her  decision  would  sacredly  abide. 

No  sinner,  at  the  judgment-seat,  waiting  eternal  doom, 
Could  suffer  what  I  did,  while  waiting  sentence  in  that 
room. 

13.  Rigid  and  breathless,  there  we  stood,  with  nerves  as  tense 

as  steel, 
While  Mary's  eyes  sought  each  white  face,  in  piteous  ap- 
peal. 
God !  could  not  woman's  duty  be  less  hardly  reconciled 
Between  her  lawful  husband  and  the  father  of  her  child  ? 

14.  Ah,  how  my  heart  was  chilled  to  ice,  when  she  knelt  down 

and  said, — 
"Forgive  me,  John!     He  is  my  husband !     Here!    Alive! 

not  dead ! " 
I  raised  her  tenderly,  and  tried  to  tell  her  she  was  right, 
But  somehow,  in  my  aching  breast,  the  prisoned  words 

stuck  tight ! 


Oratorical  Style.  357 

15.  "But,  John,  I   can't  leave   baby."—  "What!    wife  and 

child !  "  cried  I ; 
"  Must  I  yield  all !     Ah,  cruel  fate !     Better  that  I  should 

die. 
Think  of  the  long,  sad,  lonely  hours,  waiting  in  gloom  for 

me, — 
No  wife  to  cheer  me  with  her  love,  — no  babe  to  climb  my 

knee! 

16.  And  yet — you  are  her  mother,  and  the  sacred  mother-love 
Is  still  the  purest,  tenderest  tie  that  Heaven  ever  wove. 
Take  her;   but   promise,  Mary, — for   that  will  bring  no 

shame, — 
My  little  girl  shall  bear,  and  learn  to  lisp,  her  father's 
name !  " 

17.  It  may  be,  in  the  life  to  come,  I'll  meet  my  child  and  wife; 
But  yonder,  by  my  cottage  gate,  we  parted  for  this  life ; 
One  long  hand-clasp  from  Mary,  and  my  dream  of  love  was 

done ! 
One  long  embrace  from  baby,  and  my  happiness  was  gone ! 


Toussaint  L'Ouverture. 

WENDELL   PHILLIPS. 

If  I  were  to  tell  you  the  story  of  Napoleon,  I  should  take  it 
from  the  lips  of  Frenchmen,  who  find  no  language  rich  enough 
to  paint  the  great  captain  of  the  nineteenth  century.  Were  I 
to  tell  you  the  story  of  Washington,  I  should  take  it  from 
your  hearts — you  who  think  no  marble  white  enough  on  which 
to  carve  the  name  of  the  father  of  his  country.  But  I  am  to 
tell  you  the  story  of  a  Negro,  Toussaint  L'Ouverture,  who  has 
left  hardly  one  written  line.  I  am  to  glean  it  from  the  reluct- 
ant testimony  of  his  enemies,  men  who  despised  him  because  he 
was  a  Negro  and  a  slave,  hated  him  because  he  had  beaten 
them  in  battle. 

Cromwell  manufactured  his  own  army.  Napoleon,  at  the 
age  of  twenty-seven,  was  placed  at  the  head  of  the  best  troops 
Europe  ever  saw.     Cromwell  never  saw  an  army  till  he  was 


358  Science  of  Elocution. 

forty  ;  this  man  never  saw  a  soldier  till  he  was  fifty.  Crom- 
well manufactured  his  own  army — out  of  what  ?  Englishmen 
■^■the  best  blood  in  Europe.  Out  of  the  middle  class  of  En- 
glishmen— the  best  blood  of  the  island.  And  with  it  he  con- 
quered what  ?  Englishmen — their  equals.  This  man  manu- 
factured his  army  out  of  what  ?  Out  of  what  you  call  the 
despicable  race  of  Negroes,  debased,  demoralized  by  two  hun- 
dred years  of  slavery,  one  hundred  thousand  of  them  imported 
into  the  island  within  four  years,  unable  to  speak  a  dialect 
intelligible  even  to  each  other.  Yet  out  of  this  mixed,  and, 
as  you  say,  despicable  mass  he  forged  a  thunder-bolt  and 
hurled  it  at  what  ?  At  the  proudest  blood  in  Europe,  the 
Spaniard,  and  sent  him  home  conquered  ;  at  the  most  warlike 
blood  in  Europe,  the  French,  and  put  them  under  his  feet ; 
at  the  pluckiest  blood  in  Europe,  the  English,  and  they 
skulked  home  to  Jamaica.  Now,  if  Cromwell  was  a  general, 
at  least  this  man  was  a  soldier. 

Now,  blue-eyed  Saxon,  proud  of  your  race,  go  back  with  me 
to  the  commencement  of  the  century,  and  select  what  states- 
man you  please.  Let  him  be  either  American  or  European  ; 
let  him  have  a  brain  the  result  of  six  generations  of  culture  ; 
let  him  have  the  ripest  training  of  university  routine  ;  let  him 
add  to  it  the  better  education  of  practical  life  ;  crown  his  tem- 
ple with  the  silver  locks  of  seventy  years,  and  show  me  the 
man  of  Saxon  lineage  for  whom  his  most  sanguine  admirer  will 
wreathe  a  laurel  rich  as  embittered  foes  have  placed  on  the 
brow  of  this  Negro — rare  military  skill,  profound  knowledge 
of  human  nature,  content  to  blot  out  all  party  distinctions,  and 
trust  a  State  to  the  blood  of  its  sons — anticipating  Sir  Robert 
Peel  fifty  years,  and  taking  his  station  by  the  side  of  Roger 
Williams  before  any  Englishman  or  American  had  won  the 
right ;  and  yet  this  is  the  record  which  the  history  of  rival 
Slates  makes  up  for  this  inspired  black  of  St.  Domingo. 

Some  doubt  the  courage  of  the  Negro.  Go  to  Hayti,  and 
stand  on  those  fifty  thousand  graves  of  the  best  soldiers  France 
ever  had,  and  ask  them  what  they  think  of  the  Negro's  sword. 

I  would  call  him  Napoleon,  but  Napoleon  made  his  way  to 
empire  over  broken  oaths  and  through  a  sea  of  blood.  This 
man  never  broke  his  word.  I  would  call  him  Cromwell,  but 
Cromwell  was  only  a  soldier,  and  the  State  he  founded  went 


Dramatic  Style.  359 

down  with  him  into  his  grave.  I  would  call  him  "Washington, 
but  the  great  Virginian  held  slaves.  This  man  risked  his 
empire  rather  than  permit  the  slave-trade  in  the  humblest  vil- 
lage of  his  dominions. 

You  think  me  a  fanatic,  for  you  read  history,  not  with  your 
eyes  but  with  your  prejudices.  But  fifty  years  hence,  when 
Truth  gets  a  hearing,  the  Muse  of  history  will  put  Phocion  for 
the  Greek,  Brutus  for  the  Roman,  Hampden  for  England,  Fay- 
ette for  France,  choose  "Washington  as  the  bright  consummate 
flower  of  our  earlier  civilization,  then,  dipping  her  pen  in 
the  sunlight,  will  write  in  the  clear  blue,  above  them  all,  the 
name  of  the  soldier,  the  statesman,  the  martyr,  Toussaint 

L'OUVERTURE. 


The  Merchant  of  Venice.    Scene  i.    Act  iii. 

SHAKESPEARE. 

Sol.  How  now,  Shylock;  Avhat  news  among  the  merchants  ? 

Shy.  You  knew,  none  so  well,  none  so  well  as  you,  of  my 
daughter's  flight. 

Sol.  That's  certain;  I,  for  my  part,  knew  the  tailor  that 
made  the  wings  she  flew  withal. 

Sala.  And  Shylock,  for  his  own  part,  knew  the  bird  was 
fledged;  and  then  it  is  the  complexion  of  them  all  to  leave 
the  dam. 

Shy.  She  is  damned  for  it. 

Sol.  That's  certain,  if  the  devil  may  be  her  judge. 

Shy.  My  own  flesh  and  blood  to  rebel ! 

Sala.  But  tell  us,  do  you  hear  whether  Antonio  have  had 
any  loss  at  sea  or  no? 

Shy.  There  I  have  made  another  bad  match :  a  bankrupt,  a 
prodigal,  who  dare  scarce  show  his  head  on  the  Rialto;  a 
beggar,  that  was  used  to  come  so  smug  upon  the  mart.  Let 
him  look  to  his  bond :  he  was  wont  to  call  me  usurer ; — let  him 
look  to  his  bond :  he  was  wont  to  lend  money  for  a  Christian 
courtesy ; — let  him  look  to  his  bond. 

Sol.  "Why,  I  am  sure,  if  he  forfeit,  thou  wilt  not  take  his 
flesh;  what's  that  good  for? 

Shy.  To  bait  fish  withal:    if  it  will  feed  nothing  else,  it 


360  Science  of  Elocution. 

will  feed  my  revenge.  He  hath  disgraced  me,  and  hindered 
me  half  a  million;  laughed  at  my  losses,  mocked  at  my 
gains,  scorned  my  nation,  thwarted  my  bargains,  cooled  my 
friends,  heated  mine  enemies;  and  what's  his  reason?  I  am 
a  Jew.  Hath  not  a  Jew  eyes  ?  hath  not  a  Jew  hands,  organs, 
dimensions,  senses,  affections,  passions  ?  fed  with  the  same 
food,  hurt  with  the  same  weapons,  subject  to  the  same  dis- 
eases, healed  by  the  same  means,  warmed  and  cooled  by  the 
same  winter  and  summer  as  a  Christian  is  ?  If  you  prick  us, 
do  we  not  bleed  ?  if  you  tickle  us,  do  we  not  laugh  ?  if  you 
poison  us,  do  we  not  die  ?  and  if  you  wrong  us,  shall  we  not 
revenge  ?  if  we  are  like  you  in  the  rest,  we  will  resemble  you 
in  that.  If  a  Jew  wrong  a  Christian,  what  is  his  humility  ? 
revenge.  If  a  Christian  wrong  a  Jew,  what  should  his  suffer- 
ance be  by  Christian  example  ?  why,  revenge.  The  villainy 
you  teach  me  I  will  execute ;  and  it  shall  go  hard  but  I  will 
better  the  instruction. 

Sola.  Here  comes  another  of  the  tribe ;  a  third  cannot  be 
matched,  unless  the  devil  himself  turn  Jew. 

Shy.  How  now,  Tubal,  what  news  from  Genoa  ?  hast  thou 
found  my  daughter  ? 

Tub.  I  often  came  where  I  did  hear  of  her,  but  cannot  find 
her. 

Shy.  Why,  there,  there,  there,  there !  a  diamond  gone,  cost 
me  two  thousand  ducats  in  Frankfort !  The  curse  never  fell 
upon  our  nation  till  now ;  I  never  felt  it  till  now : — two  thou- 
sand ducats  in  that;  and  other  precious,  precious  jewels. — I 
would  my  daughter  were  dead  at  my  foot,  and  the  jewels  in 
her  ear !  would  she  was  hearsed  at  my  foot,  and  the  ducats  in 
her  coffin !  No  news  of  them  ? — Why,  so :  —and  I  know  not 
what's  spent  in  the  search.  Why,  thou  loss  upon  loss !  the  thief 
gone  with  so  much,  and  so  much  to  find  the  thief ;  and  no 
satisfaction,  no  revenge;  nor  no  ill  luck  stirring  but  what 
lights  o'  my  shoulders;  no  sighs  but  o'  my  breathing;  no 
tears  but  o'  my  shedding. 

Tub.  Yes,  other  men  have  ill  luck  too ;  Antonio,  as  I  heard 
in  Genoa, — 

Shy.  What,  what,  what  ?  ill  luck,  ill  luck,  ill  luck  ? 

Tub.  Hath  an  argosy  cast  away,  coming  from  Tripolis. 

Shy.  I  thank  God,  I  thank  God : — is  it  true  ?  is  it  true  ? 


Deamatic  Style.  361 

Tub.  I  spoke  with  some  of  the  sailors  that  escaped  the 
wreck. 

Shy.  I  thank  thee,  good  Tubal; — good  news,  good  news: 
ha!  ha! — Where  ?  in  Genoa  ? 

Tub.  Your  daughter  spent  in  Genoa,  as  I  heard,  one  night, 
fourscore  ducats. 

Shy.  Thou  stick'st  a  dagger  in  me : — I  shall  never  see  my  gold 
again.     Fourscore  ducats  at  a  sitting!  fourscore  ducats! 

Tub.  There  came  divers  of  Antonio's  creditors  in  my  com- 
pany to  Venice,  that  swear  he  cannot  choose  but  break. 

Shy.  I  am  very  glad  of  it :  I'll  plague  him ;  I'll  torture  him ; 
I  am  glad  of  it. 

Tvh.  One  of  them  shewed  me  a  ring,  that  he  had  of  your 
daughter  for  a  monkey. 

Shy.  Out  upon  her !  Thou  torturest  me,  Tubal :  it  was  my 
torquoise:  I  had  it  of  Leah  when  I  was  a  bachelor:  I  would 
not  have  given  it  for  a  wilderness  of  monkeys. 

Tvb.  But  Antonio  is  certainly  undone. 

Shy.  Nay,  that's  true,  that's  very  true.  Go,  Tubal,  fee  me  an 
officer,  bespeak  him  a  fortnight  before :  I  will  have  the  heart 
of  him,  if  he  forfeit ;  for  were  he  out  of  Venice,  I  can  make 
what  merchandise  I  will.  Go,  go,  Tubal,  and  meet  me  at  our 
synagogue ;  go,  good  Tubal ;  at  our  synagogue,  Tubal. 


Our  Folks. 

ETHEL  LYNN. 

"Hi!  Harry  Holly!  Halt;  and  tell 

A  fellow  just  a  thing  or  two  : 
You've  had  a  furlough,  been  to  see 

How  all  the  folks  in  Jersey  do. 
It's  months  ago  since  I  was  there — 

I,  and  a  bullet  from  Fair  Oaks : 
When  you  were  home — old  comrade,  say, 

Did  you  see  any  of  our  folks  ? 
You  did  ?    Shake  hands ;  O,  aint  I  glad  ? 

For,  if  I  do  look  grim  and  rough, 
I've  got  some  feelin' — 


362  Science  of  Elocution. 

2.  "People  think 
A  soldier's  heart  is  mighty  tough ; 

But,  Harry,  when  the  bullets  fly, 
And  hot  saltpeter  flames  aud  smokes, 

While  whole  battalions  lie  afield, 
One's  apt  to  think  about  his  folks. 

3.  "  And  so  you  saw  them — when  ?  and  where  ? 

The  old  man — is  he  hearty  yet  ? 
And  mother — does  she  fade  at  all  ? 

Or  does  she  seem  to  pine  and  fret 
For  me  ?    And  sis  ? — has  she  grown  tall  ? 

And  did  you  see  her  friend — you  know 
That  Annie  Moss — 

(How  this  pipe  chokes!) 
Where  did  you  see  her  ? — tell  me,  Hal, 

A  lot  of  news  about  our  folks. 

4.  "  You  saw  them  in  the  church — you  say : 

It's  likely,  for  they're  always  there. 
Not  Sunday  ?  no  ?    A  funeral  ?    Who  ? 

Who,  Harry  ?   how  you  shake  and  stare ! 
All  well,  you  say,  and  all  were  out ; 
What  ails  you,  Hal  ?    Is  this  a  hoax  ? 
Why  don't  you  tell  me,  like  a  man, 

What  is  the  matter  with  our  folks  ?  " 

5.  "I  said  all  well,  old  comrade,  true, 

I  say  all  well,  for  He  knows  best 
Who  takes  the  young  ones  in  his  arms, 

Before  the  sun  goes  to  the  west. 
The  ax-man  Death  deals  right  and  left, 

And  flowers  fall  as  well  as  oaks ; 
And  so — 

6.  "Fair  Annie  blooms  no  more ! 
And  that's  the  matter  with  your  folks. 

See,  this  brown  curl  was  kept  for  you ; 

And  this  white  blossom  from  her  breast; 
And  here — your  sister  Bessie  wrote 

A  letter,  telling  all  the  rest. 
Bear  up,  old  friend." 


Dramatic  Style.  363 

7.  Nobody  speaks; 

Only  the  old  camp  raven  croaks, 

And  soldiers  whisper : 

"Boys,  be  still; 

There's  some  bad  news  from  Grainger's  folks." 

He  turns  his  back — the  only  foe 

That  ever  saw  it— on  his  grief, 
And,  as  men  will,  keeps  down  the  tears 

Kind  Nature  sends  to  Woe's  relief. 
Then  answers  he : 

8.  "Ah,  Hal,  I'll  try  ; 

But  in  my  throat  there's  something  chokes, 
Because,  you  see,  I've  thought  so  long 
To  count  her  in  among  our  folks. 

9.  "  I  s'pose  she  must  be  happy  now; 

But  still  I  will  keep  thinking  too, 
I  could  have  kept  all  trouble  off, 
By  being  tender,  kind,  and  true ; 

But  may  be  not. 

"  She's  safe  up  there; 

And  when  His  hand  deals  other  strokes, 
She'll  stand  by  heaven's  gate,  I  know, 

And  wait  to  welcome  in  our  folks." 


Lasca. 

F.   DESPREZ. 


1.  I  want  free  life  and  I  want  fresh  air; 
And  I  sigh  for  the  canter  after  the  cattle, 
The  crack  of  the  whips  like  shots  in  battle, 
The  mellay  of  horns  and  hoofs  and  heads 

That  wars  and  wrangles  and  scatters  and  spreads; 
The  green  beneath  and  the  blue  above, 
And  dash  and  danger,  and  life  and  love, 
And  Lasca! 

2.  Lasca  used  to  ride 

On  a  mouse-gray  mustang,  close  to  my  side, 


364  Science  of  Elocution. 

With  blue  serdpe  and  bright-belled  spur ; 
I  laughed  with  joy  when  I  looked  at  her! 
Little  knew  she  of  books  or  creeds ; 
An  Ave  Maria  sufficed  her  needs ; 
Little  she  cared,  save  to  be  by  my  side, 
To  ride  with  me,  and  ever  to  ride, 
From  San  Saba's  shore  to  Lavaca's  tide. 
She  was  as  bold  as  the  billows  that  beat, 
She  was  as  wild  as  the  breezes  that  blow; 
From  her  little  head  to  her  little  feet 
She  was  swayed,  in  her  suppleness,  to  and  fro 
By  each  gust  of  passion ;  a  sapling  pine, 
That  grows  on  the  edge  of  a  Kansas  bluff, 
And  wars  with  the  wind  when  the  weather  is  rough, 
Is  like  this  Lasca,  this  love  of  mine. 
She  would  hunger  that  i  might  eat, 
Would  take  the  bitter  and  leave  me  the  sweet; 
But  once,  when  I  made  her  jealous  for  fun, 
At  something  I'd  whispered,  or  looked,  or  done, 
One  Sunday,  in  San  Antonio, 
To  a  glorious  girl  on  the  Alamo, 
She  drew  from  her  girdle  a  dear  little  dagger, 
And — sting  of  a  wasp ! — It  made  me  stagger ! 
An  inch  to  the  left  or  an  inch  to  the  right, 
And  I  shouldn't  be  maundering  here  to-night; 
But  she  sobbed,  and,  sobbing,  so  swiftly  bound 
Her  torn  reboso  about  the  wound 
That  I  quite  forgave  her.     Scratches  don't  count 
In  Texas,  down  by  the  Rio  Grande. 


o.  Her  eye  was  brown — a  deep,  deep  brown ; 
Her  hair  was  darker  than  her  eye ; 
And  something  in  her  smile  and  frown, 
Curled  crimson  lip,  and  instep  high, 
Showed  that  there  ran  in  each  blue  vein, 
Mixed  with  the  milder  Aztec  strain, 
The  vigorous  vintage  of  old  Spain. 
The  air  was  heavy,  the  night  was  hot, 
I  sat  by  her  side,  and  forgot — forgot ; 


Dramatic  Style.  365 

Forgot  the  herd  that  were  taking  their  rest ; 
Forgot  that  the  air  was  close  opprest, 
That  the  Texas  norther  comes  sudden  and  soon, 
In  the  dead  of  night  or  the  blaze  of  noon; 
That  once  let  the  herd  at  its  breath  take  fright, 
And  nothing  on  earth  can  stop  the  flight ; 
And  woe  to  the  rider,  and  woe  to  the  steed, 
Who  falls  in  front  of  their  mad  stampede ! 
Was  that  thunder?    No,  by  the  Lord ! 
I  spring  to  my  saddle  without  a  word. 
One  foot  on  mine,  and  she  clung  behind. 
Away  on  a  hot  chase  down  the  wind ! 
But  never  was  fox-hunt  half  so  hard, 
And  never  was  steed  so  little  spared. 
For  we  rode  for  our  lives.     You  shall  hear  how  we  fared 
In  Texas,  down  by  the  Rio  Grande. 

4.  The  mustang  flew,  and  we  urged  him  on ; 
There  is  one  chance  left,  and  you  have  but  one — 
Halt,  jump  to  ground,  and  shoot  your  horse ; 
Crouch  under  his  carcass,  and  take  your  chance ; 
And  if  the  steers,  in  their  frantic  course, 

Don't  batter  you  both  to  pieces  at  once, 
You  may  thank  your  star ;  if  not,  good-bye 
To  the  quickening  kiss  and  the  long-drawn  sigh, 
And  the  open  air  and  the  open  sky, 

In  Texas,  down  by  the  Rio  Grande. 

5.  The  cattle  gained  on  us  and  then  I  felt 
For  my  old  six-shooter,  behind  in  my  belt ; 
Down  came  the  mustang,  and  down  came  we, 
Clinging  together,  and — what  was  the  rest? 
A  body  that  spread  itself  on  my  breast, 
Two  arms  that  shielded  my  dizzy  head, 
Two  lips  that  hard  on  my  lips  were  pressed; 
Then  came  thunder  in  my  ears 

As  over  us  surged  the  sea  of  steers; 
Blows  that  beat  blood  into  my  eyes, 
And  when  I  could  rise 
Lasca  was  dead. 


366  Science  of  Elocution. 

6.  I  dug  out  a  grave  a  few  feet  deep, 

And  there  in  Earth's  arms  I  laid  her  to  sleep; 

And  where  she  is  lying  no  one  knows, 

And  the  summer  shines  and  the  winter  snows ; 

And  for  many  a  day  the  flowers  have  spread 

A  pall  of  petals  over  her  head ; 

And  the  little  gray  hawk  hangs  aloof  in  the  air, 

And  the  sly  coyote  trots  here  and  there, 

And  the  black  snake  glides  and  glitters  and  slides 

Into  the  rift  in  a  cotton- wood  tree ; 

And  the  buzzard  sails  on, 

And  comes  and  is  gone. 

Stately  and  still  as  a  ship  at  sea ; 

And  I  wonder  why  I  do  not  care 

For  the  things  that  are  like  the  things  that  were. 

Does  half  my  heart  lie  buried  there 

In  Texas,  down  by  the  Rio  Grande? 


No  Sects  in  Heaven. 

MBS.  E.  H.  J.  CLEAVELAND. 

1.  Talking  of  sects  till  late  one  eve, 

Of  the  various  doctrines,  the  saints  believe, 
That  night  I  stood,  in  a  troubled  dream, 
By  the  side  of  a  darkly  flowing  stream. 

2.  And  a  Churchman  down  to  the  river  came ; 
When  I  heard  a  strange  voice  call  his  name, 

1 '  Good  father,  stop ;  when  you  cross  this  tide. 
You  must  leave  your  robes  on  the  other  side.'1 

3.  But  the  aged  father  did  not  mind ; 
And  his  long  gown  floated  out  behind, 
As  down  to  the  stream  his  way  he  took, 
His  pale  hands  clasping  a  gilt-edged  book : 

4.  " I'm  bound  for  Heaven;  and,  when  I'm  there, 
I  shall  want  my  Book  of  Common  Prayer; 
And,  though  I  put  on  a  starry  crown, 

I  should  feel  (juite  lost  without  my  gown." 


Dramatic  Style.  367 

5.  Then  he  fixed  his  eyes  on  the  shining  track, 
But  his  gown  was  heavy  and  held  him  back, 
And  the  poor  old  father  tried  in  vain, 

A  single  step  in  the  flood  to  gain. 

6.  I  saw  him  again  on  the  other  side, 
But  his  silk  gown  floated  on  the  tide ; 
And  no  one  asked  in  that  blissful  spot, 
Whether  he  belonged  to  "  the  Church  "  or  not. 

7.  Then  down  to  the  river  a  Quaker  strayed; 
His  dress  of  a  sober  hue  was  made : 
"My  coat  and  hat  must  all  be  gray — 

I  cannot  go  any  other  way." 

8.  Then  he  buttoned  his  coat  straight  up  to  his  chin, 
And  staidly,  solemnly,  waded  in, 

And  his  broad-brimmed  hat  he  pulled  down  tight 
Over  his  forehead  so  cold  and  white. 

9.  But  a  strong  wind  carried  away  his  hat ; 
A  moment  he  silently  sighed  over  that ; 
And  then,  as  he  gazed  on  the  farther  shore, 
His  coat  slipped  off,  and  was  seen  no  more ; 

10.  As  he  entered  Heaven,  his  suit  of  gray 
"Went  quietly  sailing,  away,  away ; 
And  none  of  the  angels  questioned  him 
About  the  width  of  his  beaver's  brim. 

11.  Next  came  Dr.  Watts,  with  a  bundle  of  psalms 
Tied  nicely  up  in  his  aged  arms, 

And  hymns  as  many — a  very  wise  thing — 

That  the  people  in  Heaven,  "all  around  "  might  sing. 

12.  But  I  thought  that  he  heaved  an  anxious  sigh, 
When  he  saw  that  the  river  ran  broad  and  high, 
And  looked  rather  surprised,  as  one  by  one 

The  psalms  and  the  hymns  in  the  waves  went  down. 

13.  And  after  him,  with  his  MSS., 

Came  Wesley,  the  pattern  of  godliness ; 


368  Science  of  Elocution. 

But  he  cried,  "  Dear  me  !  what  shall  I  do  ? 

The  water  has  soaked  them  through  and  through." 

14.  And  there  on  the  river,  far  and  wide, 
Away  they  went  down  the  swollen  tide ; 

And  the  saint,  astonished,  passed  through  alone, 
Without  his  manuscripts,  up  to  the  throne. 

15.  Then,  gravely  walking,  two  saints  by  name 
Down  to  the  river  together  came ; 

But,  as  they  stopped  at  the  river's  brink, 
I  saw  one  saint  from  the  other  shrink. 

16.  "  Sprinkled  or  plunged  ?  may  I  ask  you  friend, 
How  you  attained  to  life's  great  end  I " 

"  Thus,  with  a  few  drops  on  my  brow," 

"But  /have  been  dipped,  as  you'll  see  me  now; 

17.  "  And  I  really  think  it  will  hardly  do, 

As  I'm  '  close  communion,'  to  cross  with  you: 
You're  bound,  I  know,  to  the  realms  of  bliss, 
But  you  must  go  that  way,  and  I'll  go  this." 

18.  Then  straightway  plunging  with  all  his  might, 
Away  to  the  left — his  friend  to  the  right — 
Apart  they  went  from  this  world  of  sin, 

But  at  last  together  they  entered  in. 

19.  And  now,  when  the  river  was  rolling  on, 
A  Presbyterian  Church  went  down; 

Of  women  there  seemed  an  innumerable  throng, 
But  the  men  I  could  count  as  they  passed  along. 

30.  And  concerning  the  road  they  could  never  agree, 
The  old  or  the  new  way,  which  it  could  be, 

Nor  ever  a  moment  paused  to  think 
That  both  would  lead  to  the  river's  brink. 

31.  And  a  sound  of  murmuring,  long  and  loud, 
Came  ever  up  from  the  moving  crowd : 
"You're  in  the  old  way,  and  I'm  in  the  new; 
That  is  the  false,  and  this  is  the  true : " 


Dramatic  Style.  369 

Or,  "  I'm  in  the  old  way,  and  you're  in  the  new; 
That  is  the  false,  and  this  is  the  true." 

22.  But  the  brethren  only  seemed  to  speak: 
Modest  the  sisters  walked  and  meek, 
And,  if  one  of  them  ever  chanced  to  say 
What  troubles  she  met  with  on  the  way, 
How  she  longed  to  pass  to  the  other  side, 
Nor  feared  to  cross  over  the  swelling  tide, 
A  voice  arose  from  the  brethren  then : 
"Let  no  one  speak  but  the  'holy  men; ' 
For  have  ye  not  heard  the  words  of  Paul, 
1  O,  let  the  women  keep  silence  all  ? ' " 

23.  I  watched  them  long  in  my  curious  dream, 
Till  they  stood  by  the  borders  of  the  stream: 
Then,  just  as  I  thought,  the  two  ways  met; 
But  all  the  brethren  were  talking  yet, 

And  would  talk  on  till  the  heaving  tide 
Carried  them  over  side  by  side — 
Side  by  side,  for  the  way  was  one : 
The  toilsome  journey  of  life  was  done ; 
And  all  who  in  Christ  the  Saviour  died 
Came  out  alike  on  the  other  side. 

24.  No  forms  or  crosses  or  books  had  they; 
No  gowns  of  silk  or  suits  of  gray; 

No  creeds  to  guide  them,  or  MSS., 

For  all  had  put  on  Christ's  righteousness. 


Poor  little  Joe. 

PELEG    ARKWKIQHT. 

1.  "Prop  yer  eyes  wide  open,  Joey, 
Fur  I've  brought  you  sumpin'  great. 
Apples?    No,  a  heap  sight  better! 

Don't  you  take  no  int'rest  ?    Wait ! 
Flowers,  Joe — I  knowed  you'd  like  'em — 

Aint  them  scrumptious  ?    Aint  them  high  I 
Tears,  my  boy  ?  Wot's  them  fur,  Joey  ? 
There — poor  little  Joe ! — don't  cry  I 
24 


370  Science  of  Elocution. 

2.  "  I  was  skippin'  past  a  winder, 

"Where  a  bang-up  lady  sot, 
All  amongst  a  lot  of  bushes — 

Each  one  climbin'  from  a  pot ; 
Every  bush  had  flowers  on  it — 

Pretty?    Mebbe  not!  O,  no! 
Wish  you  could  a  seen  'em  growing 

It  was  sich  a  stunnin'  show. 

3.  "  Well,  I  thought  of  you,  poor  feller, 

Lyin'  here  so  sick  and  weak, 
Never  knowin'  any  comfort, 

And  I  puts  on  lots  o'  cheek . 
*  Missus,1  says  I,  *  If  you  please,  mum, 

Could  I  ax  you  for  a  rose  ? 
For  my  little  brother,  missus — 

Never  seed  one,  I  suppose.* 

4.  "  Then  I  told  her  all  about  you — " 

How  I  bringed  you  up — poor  Joe! 
(Lackin'  women  folks  to  do  it.) 

Sich  a'  imp  you  was,  you  know- 
Till  yer  got  that  awful  tumble, 

Jist  as  I  had  broke  yer  in 
(Hard  work,  too)  to  earn  yer  livin' 

Blackin'  boots  for  honest  tin. 

5.  "How  that  tumble  crippled  of  you, 

So's  you  couldn't  hyper  much — 
Joe,  it  hurted  when  I  seen  you 

Fur  the  first  time  with  yer  crutch. 
1  But,'  I  says,  '  he's  laid  up  now,  mum> 

'Pears  to  weaken  every  day ; ■ 
Joe,  she  up  and  went  to  cuttin' — 

That's  the  how  of  this  bokay. 

6.  "  Say!    It  seems  to  me,  ole  feller, 

You  is  quite  yerself  to-night; 
Kind  o'  chirk— it's  been  a  fortni't 
Sence  yer  eyes  has  been  so  bright. 


Dramatic  Style.  371 

Better?    Well,  I'm  glad  to  hear  it! 

Yes,  they're  mighty  pretty,  Joe. 
Smellin'  of  'em's  made  you  happy  ? 

Well,  I  thought  it  would,  you  know! 

7.  "  Never  see  the  country,  did  you  ? 

Flowers  growin'  every- where ! 
Sometime  when  you're  better,  Joey, 

Mebbe  I  kin  take  you  there. 
Flowers  in  heaven ?     'M — I  s'pose  so; 

Dunno  much  about  it,  though; 
Aint  as  fly  as  wot  I  might  be 

On  them  topics,  little  Joe. 

8.  "  But  I've  heard  it  hinted  somewheres 

That  in  heaven's  golden  gates 
Things  is  everlastin'  cheerful — 

B'lieve  that's  wot  the  Bible  states. 
Likewise,  there  folks  don't  git  hungry; 

So  good  people,  when  they  dies, 
Finds  themselves  well  fixed  forever — 

Joe,  my  boy,  wot  ails  your  eyes  ? 

9.  "  Thought  they  looked  a  little  sing'ler. 

O,  no !    Don't  you  have  no  fear ; 
Heaven  was  made  fur  such  as  you  is — 

Joe,  wot  makes  you  look  so  queer  ? 
Here — wake  up  !     O,  don't  look  that  way ! 

Joe !     My  boy !    Hold  up  yer  head ! 
Here's  yer  flowers — you  dropped  'em,  Joey 

O,  my  God !  can  Joe  be  dead  ? " 


How  the  Old  Horse  Won  the  Bet. 

OLIVER  WENDELL   HOLMES. 

'Twas  on  the  famous  trotting-ground, 
The  betting  men  were  gathered  round 
From  far  and  near  ;  the  "cracks"  were  there 
Whose  deeds  the  sporting  prints  declare : 


S72  Science  of  Elocution. 

The  swift  g.  m.,  Old  Hiram's  nag, 
The  fleet  s.  h.,  Don  Pfeiffer's  brag, 
With  these  a  third — and  who  is  he 
That  stands  beside  his  fast  b.  g.  ? 
Budd  Doble,  whose  catarrhal  name 
So  fills  the  nasal  trump  of  fame. 
There,  too,  stood  many  a  noted  steed 
Of  Messenger,  and  Morgan  breed ; 
Green  horses  also,  not  a  few — 
Unknown  as  yet  what  they  could  do ; 
And  all  the  hacks  that  know  so  well 
The  scourgings  of  the  Sunday  swell. 

2.  Blue  are  the  skies  of  opening  day ; 
The  bordering  turf  is  green  with  May; 
The  sunshine's  golden  gleam  is  thrown 
On  sorrel,  chestnut,  bay,  and  roan ; 
The  horses  paw  and  prance  and  neigh; 
Fillies  and  colts  like  kittens  play, 
And  dance  and  toss  their  rippled  manes 
Shining  and  soft  as  silken  skeins; 
Wagons  and  gigs  are  ranged  about, 
And  fashion  flaunts  her  gay  turnout : 
Here  stands — each  youthful  Jehu's  dream  — 
The  jointed  tandem,  ticklish  team ! 

And  there  in  ampler  breadth  expand 
The  splendors  of  the  four-in-hand ; 
On  faultless  ties  and  glossy  tiles 
The  lovely  bonnets  beam  their  smiles ; 
(The  style's  the  man,  so  books  avow ; 
The  style's  the  woman  anyhow ;) 
From  flounces  frothed  with  creamy  lace 
Peeps  out  the  pug-dog's  smutty  face, 
Or  spaniel  rolls  his  liquid  eye, 
Or  stares  the  wiry  pet  of  Skye, — 
O  woman,  in  your  hours  of  ease 
So  shy  with  ua;  so  free  with  these! 

3.  "  Come  on !  I'll  bet  you  two  to  one 

I'll  make  him  do  it !  "     "  Will  you  ?    Done ! " 


Dramatic  Style.  373 

What  was  it  who  was  bound  to  do  ? 
I  did  not  hear,  and  can't  tell  you ; 
Pray  listen  till  my  story's  through. 

4.  Scarce  noticed,  back  behind  the  rest, 
By  cart  and  wagon  rudely  prest, 
The  parson's  lean  and  bony  bay, 
Stood  harnessed  in  his  one-horse  shay — 
Lent  to  his  sexton  for  the  day. 

(A  funeral — so  the  sexton  said ; 

His  mother's  uncle's  wife  was  dead.) 

Like  Lazarus  bid  to  Dives's  feast, 

So  looked  the  poor  forlorn  old  beast ; 

His  coat  was  rough,  his  tail  was  bare, 

The  gray  was  sprinkled  in  his  hair : 

Sportsmen  and  jockeys  knew  him  not, 

And  yet  they  say  he  once  could  trot 

Among  the  fleetest  of  the  town, 

Till  something  cracked  and  broke  him  down-^ 

The  steed's  the  statesman's  common  lot! 

"And  are  we  then  so  soon  forgot  ?  " 

Ah  me !  I  doubt  if  one  of  you 

Has  ever  heard  the  name  "  Old  Blue," 

Whose  fame  through  all  this  region  rung 

In  those  old  days  when  I  was  young ! 

5.  "  Bring  forth  the  horse !  "  Alas !  he  showed 
Not  like  the  one  Mazeppa  rode : 
Scant-maned,  sharp-backed  and  shaky-kneed, 
The  wreck  of  what  was  once  a  steed — 

Lips  thin,  eyes  hollow,  stiff  in  joints ; 
Yet  not  without  his  knowing  points. 
The  sexton  laughing  in  his  sleeve, 
As  if  'twere  all  a  make-believe, 
Led  forth  the  horse,  and  as  he  laughed 
Unhitched  the  breeching  from  a  shaft, 
Unclasped  the  rusty  belt  beneath, 
Drew  forth  the  snaffle  from  his  teeth, 
Slipped  off  his  head-stall,  set  him  free 
From  strap  and  rein — a  sight  to  see ! 


S14  Science  of  Elocution. 

6.  So  worn,  so  lean  in  every  limb, 

It  can't  be  they  are  saddling  him ! 
It  is !     His  back  the  pig-skin  strides, 
And  flaps  his  lank  rheumatic  sides; 
With  look  of  mingled  scorn  and  mirth 
They  buckle  round  the  saddle-girth ; 
With  horsey  wink  and  saucy  toss 
A  youngster  throws  his  leg  across. 
And  so,  his  rider  on  his  back, 
They  lead  him,  limping,  to  the  track, 
Far  up  behind  the  starting-point, 
To  limber  out  each  stiffened  joint. 

7.  As  through  the  jeering  crowd  he  passed, 
One  pitying  look  old  Hiram  cast ; 

"  Go  it,  ye  cripple,  while  ye  can ! " 
Cried  out  unsentimental  Dan ; 
"  A  fast-day  dinner  for  the  crows ! " 
Budd  Doble's  scoffing  shout  arose, 

8.  Slowly,  as  when  the  walking-beam 
First  feels  the  gathering  head  of  steam, 
With  warning  cough  and  threatening  wheeze 
The  stiff  old  charger  crooks  his  knees ; 

At  first  with  cautious  step  sedate, 
As  if  he  dragged  a  coach  of  state ; 
He's  not  a  colt ;  he  knows  full  well 
That  time  is  weight  and  sure  to  tell ; 
No  horse  so  sturdy  but  he  fears 
The  handicap  of  twenty  years. 

9.  As  through  the  throng  on  either  hand 
The  old  horse  nears  the  judges'  stand, 
Beneath  his  jockey's  feather-weight 
He  warms  a  little  to  his  gait, 

And  now  and  then  a  step  is  tried 
That  hints  at  something  like  a  stride. 

10.  "  Go !  " — Through  his  ear  the  summons  stung, 
As  if  a  battle-trump  had  rung ; 
The  slumbering  instincts  long  unstirred 
Start  at  the  old  familiar  word ; 


Dramatic  Style.  375 

It  thrills  like  flame  through  every  limb — 
What  mean  his  twenty  years  to  him  ? 
The  savage  blow  his  rider  dealt 
Fell  on  his  hollow  flanks  unf elt ; 
The  spur  that  pricked  his  staring  hide 
Unheeded  tore  his  bleeding  side ; 
Alike  to  him  are  spur  and  rein — 
He  steps  a  five-year-old  again ! 

11.  Before  a  quarter  pole  was  passed, 
Old  Hiram  said,  "  He's  going  fast." 
Long  ere  the  quarter  was  a  half, 
The  chuckling  crowd  had  ceased  to  laugh ; 
Tighter  his  frightened  jockey  clung 
As  in  a  mighty  stride  he  swung, 
The  gravel  flying  in  his  track, 
His  neck  stretched  out,  his  ears  laid  back, 
His  tail  extended  all  the  while 
Behind  him  like  a  rat-tail  file ! 
Off  went  a  shoe — away  it  spun, 
Shot  like  a  bullet  from  a  gun ; 
The  quaking  jockey  shapes  a  prayer 
From  scraps  of  oaths  he  used  to  swear; 
He  drops  his  whip,  he  drops  his  rein, 
He  clutches  fiercely  for  a  mane ; 
He'll  lose  his  hold — he  sways  and  reels — 
He'll  slide  beneath  those  trampling  heels ! 
The  knees  of  many  a  horseman  quake, 
The  flowers  on  many  a  bonnet  shake, 
And  shouts  arise  from  left  and  right, 
"Stick  on!   stick  on!"     "  Hould  tight!  hould 

tight!" 
" Cling  round  his  neck;  and  don't  let  go — 
That  pace  can't  hold — there!  steady!  whoa!  w 
But,  like  the  sable  steed  that  bore 
The  spectral  lover  of  Lenore, 
His  nostrils  snorting  foam  and  fire, 
No  stretch  his  bony  limbs  can  tire ; 
And  now  the  stand  he  rushes  by, 
And  "  Stop  him !  stop  him !  "  is  the  cry. 


376  Science  of  Elocution. 

12.  "  Stand  back!  he's  only  just  begun — 
He's  having  out  three  heats  in  one ! " 

"  Don't  rush  in  front!  he'll  smash  your  brains; 

But  follow  up  and  grab  the  reins !  " 

Old  Hiram  spoke.     Dan  Pfeiffer  heard, 

And  sprang,  impatient,  at  the  word : 

Budd  Doble  started  on  his  bay, 

Old  Hiram  followed  on  his  gray, 

And  oif  they  spring,  and  round  they  go, 

The  fast  ones  doing  "  all  they  know," 

Look !  twice  they  follow  at  his  heels, 

As  round  the  circling  course  he  wheels, 

And  whirls  with  him  that  clinging  boy 

Like  Hector  round  the  walls  of  Troy. 

Still  on,  and  on,  the  third  time  round ! 

They're  tailing  off !  they're  losing  ground ! 

Budd  Doble's  nag  begins  to  fail ! 

Dan  PfeifEer's  sorrel  whisks  his  tail ! 

And  see !  in  spite  of  whip  and  shout, 

Old  Hiram's  mare  is  giving  out ! 

13.  Now  for  the  finish!     At  the  turn, 
The  old  horse — all  the  rest  astern — 
Comes  swinging  in,  with  easy  trot ; 
By  Jove !  he's  distanced  all  the  lot ! 
That  trot  no  mortal  could  explain ; 

Some  said,  "  Old  Dutchman  come  again!  " 
Some  took  his  time — at  least,  they  tried, 
But  what  it  was  could  none  decide  ; 
One  said  he  couldn't  understand 
What  happened  to  his  second-hand ; 
One  said  2:10;  that  couldn't  be — 
More  like  two  twenty-two  or  three ; 
Old  Hiram  settled  it  at  last : 
"  The  time  was  two — too  mighty  fast!  " 

14.  The  parson's  horse  had  won  the  bet ; 
It  cost  him  something  of  a  sweat ; 
Back  in  the  one-horse  shay  he  went. 
The  parson  wondered  what  it  meant, 


Dramatic  Style.  37' 

And  murmured,  with  a  mild  surprise 

And  pleasant  twinkle  of  the  eyes, 

"That  funeral  must  have  been  a  trick, 

Or  corpses  drive  at  double  quick ; 

I  shouldn't  wonder,  I  declare, 

If  Brother  Murray  made  the  prayer !  " 

And  this  is  all  I  have  to  say 

About  the  parson's  poor  old  bay, 

The  same  that  drew  the  one-horse  shay. 

Moral  for  which  this  tale  is  told : 

A  horse  can  trot,  for  all  he's  old. 


Robert  of  Lincoln. 


W.    C.    BRYANT. 


1.  Merrily  swinging  on  brier  and  weed, 

Near  to  the  nest  of  his  little  dame, 
Over  the  mountain-side  or  mead, 
Robert  of  Lincoln  is  telling  his  name  : 
Bob-o'-link,  bob-o'-link, 
Spink,  spank,  spink; 
Snug  and  safe  is  that  nest  of  ours, 
Hidden  among  the  summer  flowers, 
Chee,  chee,  chee. 

2.  Robert  of  Lincoln  is  gayly  dressed, 

Wearing  a  bright  black  wedding  coat, 
White  are  his  shoulders  and  white  his  crest, 
Hear  him  call  in  his  merry  note, 
Bob-o'-link,  bob-o'link, 
Spink,  spank,  spink; 
Look,  what  a  nice  new  coat  is  mine, 
Sure  there  was  never  a  bird  so  fine. 
Chee,  chee,  chee. 

3.  Robert  of  Lincoln's  Quaker  wife, 

Pretty  and  quiet,  with  plain  brown  wings, 
Passing  at  home  a  patient  life, 

Broods  in  the  grass  while  her  husband  sings : 


378  Science  of  Elocution. 

Bob-o'-link,  bob-o'-link, 

Spink,  spank,  spink; 
Brood,  kind  creature ;  you  need  not  fear 
Thieves  and  robbers  while  I  am  here. 
Chee,  chee,  chee. 

4.  Modest  and  shy  as  a  nun  is  she, 

One  weak  chirp  is  her  only  note, 
Braggart  and  prince  of  braggarts  is  he, 
Pouring  boasts  from  his  little  throat : 
Bob-o'-link,  bob-o'-link, 
Spink,  spank,  spink; 
Never  was  I  afraid  of  man ; 
Catch  me,  cowardly  knaves,  if  you  can. 
Chee,  chee,  chee. 

5.  Six  white  eggs  on  a  bed  of  hay, 

Flecked  with  purple,  a  pretty  sight ! 
There,  as  the  mother  sits  all  day, 
Robert  is  singing  with  all  his  might : 
Bob-o'-link,  bob-o'-link, 
Spink,  spank,  spink; 
Nice  good  wife,  that  never  goes  out, 
Keeping  house  while  I  frolic  about. 
Chee,  chee,  chee. 

6.  Soon  as  the  little  ones  chip  the  shell 

Six  wide  mouths  are  open  for  food ; 
Robert  of  Lincoln  bestirs  him  well, 
Gathering  seed  for  the  hungry  brood. 
Bob-o'-link,  bob-o'-link, 
Spink,  spank,  spink; 
This  new  life  is  likely  to  be 
Hard  for  a  gay  young  fellow  like  me. 
Chee,  chee,  chee. 

7.  Robert  of  Lincoln  at  length  is  made 

Sober  with  work  and  silent  with  care ; 
Off  is  his  holiday  garment  laid, 
Half  forgotten  that  merry  air, 


Humorous  Style.  379 

Bob-o'-link,  bob-o'-link, 

Spink,  spank,  spink; 
Nobody  knows  but  my  mate  and  I 
Where  our  nest  and  our  nestlings  lie. 
Chee,  chee,  chee. 

Summer  wanes,  the  children  are  grown ; 

Fun  and  frolic  no  more  he  knows ; 
Robert  of  Lincoln's  a  humdrum  crone ; 
Off  he  flies,  and  we  sing  as  he  goes : 
Bob-o'-link,  bob-o'-link, 
Spink,  spank,  spink; 
When  you  can  pipe  that  merry  old  strain, 
Robert  of  Lincoln,  come  back  again. 
Chee,  chee,  chee. 


The  Bald-Headed  Man. 

The  other  day  a  lady,  accompanied  by  her  son,  a  very  small 
boy,  boarded  a  train  at  Little  Rock.  The  woman  had  a  care- 
worn expression  hanging  over  her  face  like  a  tattered  veil,  and 
many  of  the  rapid  questions  asked  by  the  boy  were  answered 
by  unconscious  sighs. 

"Ma,"  said  the  boy,  "that  man's  head  is  like  a  baby,  aint 
it  ? "  pointing  to  a  bald-headed  man  sitting  just  in  front  of 
them. 

"Hush!" 

"  Why  must  I  hush  ? " 

After  a  few  moments'  silence,  "Ma,  what's  the  matter 
with  that  man's  head  ? " 

"  Hush,  I  tell  you.     He's  bald." 

"What's  bald?" 

"His  head  hasn't  got  any  hair  on  it." 

"  Did  it  come  off  ?  " 

"I  guess  so." 

"Will  mine  all  come  off  ?" 

"  Some  time,  may  be." 

« « Then  I'll  be  bald,  wont  I  ?  » 

"Yes." 


380  Science  of  Elocution. 

"  Will  you  care  ? " 

"Don't  ask  so  many  questions." 

After  another  silence,  the  boy  exclaimed,  ' '  Ma,  there's  a  fly 
on  that  man's  head." 

"If  you  don't  hush,  I'll  whip  you  when  we  get  home." 

"  Look  !     There's  another  fly.     Two  flies,  see  ;em  fight." 

"Madam,"  said  the  man,  putting  aside  a  newspaper  and 
looking  around,  "what's  the  matter  with,  that  young 
hyena  ? " 

The  woman  blushed,  stammered  out  something,  and  at- 
tempted to  smooth  back  the  boy's  hair. 

' '  One  fly,  two  flies,  three  flies, "  said  the  boy. 

"Here,  you  young  hedgehog,  if  you  don't  hush  I'll  have 
the  conductor  put  you  off  the  train." 

The  poor  woman,  not  knowing  what  else  to  do,  boxed  the 
boy's  ears,  and  then  gave  him  an  orange  to  keep  him  from 
crying. 

"Ma,  have  I  got  any  red  marks  on  my  head  ?  " 

"  I'll  whip  you  again  if  you  don't  hush." 

"Mister,"  said  the  boy,  after  a  short  silence,  "does  it  hurt 
to  be  bald-headed  ?  " 

"Youngster,"  said  the  man,  "if  you'll  keep  quiet,  I'll  give 
you  a  quarter." 

The  boy  promised,  and  the  money  was  paid  over. 

"  This  is  my  bald-headed  money,"  said  the  boy.  "When  I 
get  bald-headed,  I'm  goin'  to  give  boys  money.  Mister,  have 
all  bald-headed  men  got  money  ? " 


The  Dead  Doll. 

MARGARET     VAHDEGRIFT. 

1.  You  needn't  be  trying  to  comfort  me:  I  tell  you  my  dolly 

is  dead ! 
There's  no  use  in  saying  she  isn't,  with  a  crack  like  that  in 

her  head ! 
It's  just  like  you  said  it  wouldn't  hurt  much  to  have  my 

tooth  out  that  day ; 
And  then,  when  the  man  most  pulled  my  head  off,  you 

hadn't  a  word  to  say. 


Humorous  Style.  381 

2.  And  I  guess  you  must  think  I'm  a  baby,  when  you  say  you 

can  mend  it  with  glue ! 
As  if  I  didn't  know  better  than  that !     Why,  just  suppose 

it  was  you ! 
You  might  make  her  look  all  mended ;  but  what  do  I  care 

for  looks  ? 
Why,  glue's  for  chairs  and  tables  and  toys,  and  the  backs 

of  books ! 

3.  My  dolly !  my  own  little  daughter !  O,  but  it's  the  awfulest 

crack ! 
It  just  makes  me  sick  to  think  of  the  sound  when  her  poor 

head  went  whack 
Against  that  horrible  brass  thing  that  holds  up  the  little 

shelf! 
Now,  nursey,  what  makes  you  remind  me  ?    I  know  that  I 

did  it  myself ! 

4.  I    think    you    must    be  crazy!     You'll  get  her  another 

head! 
What  good  would  forty  heads  do  her  ?    I  tell  you  my 

dolly  is  dead ! 
And  to  think  I  hadn't   quite  finished  her  elegant  new 

spring  hat ! 
And  I  took  a  sweet  ribbon  of  hers  last  night  to  tie  on  that 

horrid  cat ! 

5.  When  my  mamma  gave  me   that  ribbon — I  was  playing 

out  in  the  yard — 
She  said   to   me  most  expressly,    ll  Here's  a  ribbon  for 

Hildegarde." 
And  I  went  and  put  it  on  Tabby,  and  Hildegarde  saw  me 

do  it; 
But  I  said  to  myself,  ' '  O,  never  mind ;  I  don't  believe  she 

knew  it." 

6.  But  I  know  that  she  knew  it  now;  and  I  just  believe, 

I  do, 
That  her  poor  little  heart  was  broken,  and  so  her  head 
broke  too. 


382  Science  of  Elocution. 

O,  my  baby !  my  little  baby !    I  wish  my  head  had  been 

hit! 
For  I've  hit  it  over  and  over,  and  it  hasn't  cracked  a  bit. 

7.  But,  since  the  darling  is  dead,  she'll  want  to  be  buried,  of 

course. 

We  will  take  my  little  wagon,  nurse ;  and  you  shall  be  the 
horse; 

And  I'll  walk  behind,  and  cry ;  and  we'll  put  her  in  this 
you  see — 

This  dear  little  box — and  we'll  bury  her  under  the  maple- 
tree. 

8.  And  papa  will  make  me  a  tombstone  like  the  one  he  made 

for  my  bird ; 
And  he'll  put  what  I  tell  him  on  it ;  yes,  every  single 

word. 
I  shall  say,  "Here  lies  Hildegarde,  a  beautiful  doll,  who 

is  dead; 
She  died  of  a  broken  heart,  and  a  dreadful  crack  in  her 

head." 


THE  END. 


/ 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  belo\wj*or 

on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recall. 


9Ma/63AEg 

r?  -  TD  LD 

StP4    1963 

Sim'MHK 

REC'D  LD 

FEB19'64-9AM 

REC'D  LD    MAR1 

73-xPM3  7 

LD  21A-50m-ll,'62                              r^^^Vn^     » 
(D3279sl0)476B                               Umversrg^of  California 

